Martin Kippenberger, Ohne Titel (Aus der Serie ‘Fred the Frog’) (1990), via Art Observed

Skarstedt Gallery’s 79th Street town house takes a cunning turn on the rule of threes this month, as the space shows a minimal, yet nuanced exhibition focusing on German painting.  Culling together three works each from a trio of post-war innovators (Albert Oehlen, Georg Baselitz and Martin Kippenberger), the gallery allows a subtly arranged, yet distinctly felt series of interconnected themes and formal investigations over the course of the exhibition.   (more…)

Kenneth Noland, Adjoin (1980), via Art Observed © Estate of Kenneth Noland/Licensed by VAGA, New York, NY www.vagarights.com

Like many of the forms of 20th Century abstraction, the shaped canvas invites both dedication and constant reinvention, a technical fold in the painterly language that allows an artist to work between the picture plane/mark-making relationship of traditional practice, and the more sculptural elements of the art form that have developed alongside critical reappraisals of the medium since the historical avant-garde.  Twisting the canvas and the artist’s gestural vocabulary around edges and into curious re-examinations of space, it has remained a core element of the craft ever since the advent of minimalism pushed a new language of space both within the canvas, and around it.   (more…)

Fine Young Cannibals (Installation View), via Petzel Gallery

Fine Young Cannibals, a summer group show currently up at Petzel Gallery’s 18th street location, is currently undertaking the perpetually ambitious task of examining the current state of painting.  Bringing together work from sixteen different artists, the show poses the question of whether the type of contemporary work sometimes categorized as “Zombie formalism,” borrowing a term first coined by critic Walter Robinson, is purely market driven, or whether the work should be given more consideration.  The pieces on view, which range from challenging formal workouts to coy, momentary operations on canvas, offer an intriguing look at current threads in the painterly discourse, adopting a fairly even-handed approach to the artists on view, and their respective interests.

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Maurizio Cattelan, Him (2001), via Christie’s

This week’s marathon series of art auctions is underway in New York City, as Christie’s launched a rare, specially-curated Sunday sale, ending its 39 lot Bound to Fail auction with a final tally of $78,123,250, with only a single lot going unsold.  The fair, which followed hot on the heels of the last hours of Frieze, saw modest bidding and consistently dependable sales, although several works sold for final prices below estimate. (more…)

Gerhard Richter (b. 1932), 5 Türen II (5 Doors II) via Christie’s
Sold for: £2,169,250 ($3,466,462)
Estimate: £1,500,000 – £2,000,000 ($2,397,000 – $3,196,000)

Postwar & Contemporary Evening Sale
Christie’s Post-War & Contemporary Art Evening Auction on October 11th realized a sale total, including buyer’s premium, of  £23,177,900 ($37,158,809) with 47 of 64 lots sold. The Evening Auction featured three artists whose work has not previously been included in an evening sale: Idris Khan, Rebecca Warren and Jonathan Wateridge.  It also included a group of important self-portraits by Martin Kippenberger that include his seminal work on canvas Untitled (from the series Hand-Painted Pictures), twelve self-portraits on paper and his sculpture Immer an der Wand Beißen bei Susan.  Also notable was Gerhard Richter’s 5 Türen II (above), a masterwork from 1967 which has never been at auction or offered privately. 5 Türen II is related in theme to 5 Türen I (1967), which is at the Museum Ludwig, Cologne.  The auction also highlighted figurative sculpture from the early 80s onward.

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Overzealous cleaning lady scrubs away part of $1.1 million Martin Kippenberger sculpture in Dortmund, Germany [AO Newslink]

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Installation view at Luhring Augustine Gallery. All images Nicolas Linnert for Art Observed.

Luhring Augustine Gallery is currently showing I Had A Vision, a grouping of works by Martin Kippenberger. Together forming a kitschy carnival of mixed media installation and wall pieces, the works selected were earlier exhibited in various exhibitions dating to the early 1990s. The title of the exhibition is pulled from the catalogue accompanying Kippenberger’s 1991 show at SF MoMA. The “vision” in question is apparent in the gallery presentation, as Kippenberger consistently reappropriates objects and re-envisions their utilitarian intent.

Martin Kippenberger, Broken Kilometer (1990).

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Yutaka Sone Little Manhattan (2007-2009) at David Zwirner Gallery – All images by Caroline Claisse for Art Observed

Art Observed remains on site in Basel, Switzerland for Art 42 Basel 2011.  The following is our second of the photosets of the main fair.  Stay tuned for more coverage of the main fair before the end of the week as well as profiles of the satellite exhibitions and events.

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Artist Wim Delvoye before one of his sculptures at Galerie Emmanuel Perrotin

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Installation image, all photos by Caroline Claisse for Art Observed unless otherwise noted

Currently on view at the Palais de Toyko is Fresh Hell, a group exhibition curated by British-born New York-based artist Adam McEwen.  Shedding a bit of dark humor on the city of Paris, McEwen brings together medieval sculpture and conceptual work from artists long forgotten as well as contemporary artists, pondering just what sort of position and creative endeavors an artist can make in today’s world. The works deal with morbidity, decay, and notions of ‘the end,’ making Death the principle theme.

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Barbara Kruger, Past / Present / Future (2010). Via The Citrus Report

Closed since 2003, the Stedelijk Museum in Amsterdam has partially reopened with an innovative program of exhibitions, lectures, performances and workshops titled The Temporary Stedelijk. Taking Place is a group show highlighting the museum’s permanent collection, showcasing exciting recent acquisitions and also featuring new site specific work, such as Barbara Kruger‘s Past / Present / Future (2010). Ann Goldstein, recently named director of the Stedelijk and former senior curator of the Museum of Contemporary Art in Los Angeles, organized the program after complications prevented the Stedelijk from re-opening as planned in Fall 2010.

Roman Ondak, Measuring the Universe (2007), Via Uapmarker

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Art 41 Basel, entrance view. All images by Art Observed unless otherwise noted.

AO was on site yesterday at Art 41 Basel, Switzerland, to see the 56 installations exhibited by the eleventh Art Unlimited, a museum-like forum for sizable and high-priced pieces. Installations of established masters and up-and-comers alike are characteristically oversized this year, with six pieces taking up over 200 square meters.  Despite the diversity of work, galleries, and featured artists, a distinct tonal resonance pervades Art Unlimited.  The lustrous style favored by Art Unlimited’s formative years gives way to a bold, rustic minimalism.  Although an intellectual understatement saturates this year’s Art Basel, Art Unlimited is hardly a quaint affair.  Economists and art experts alike are predicting major acquisitions for the international art elite, with a Giacometti and a Bourgeois notably up for grabs.

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George Condo, Cocktail Drinker (1995) All images via Luhring Augustine

In commemoration of their 25th anniversary, Luhring Augustine is hosting an exhibition titled, “Twenty Five.” The show pulls together works from the gallery’s past and present by artists including Janine Antoni, Nobuyoshi Araki, Janet Cardiff and Georges Bures Miller, Larry Clark, George Condo, Gregory Crewdson, William Daniels, Günter Förg, Zarina Hashmi, Johannes Kahrs, Jon Kessler, Martin Kippenberger, Ragnar Kjartansson, Luisa Lambri, Glenn Ligon, Paul McCarthy, Yasumasa Morimura, Daido Moriyama, Reinhard Mucha, David Musgrave, Cady Nolan, Alberta Oehlen, Ed Paschke, Jack Pierson, Michelangelo Pistoletto, Stephen Prina, Pipilotti Rist, Josh Smith, Joel Sternfeld, Tunga, Guido van der Werve, Rachel Whiteread, Christopher Williams, Steve Wolfe, and Christopher Wool.

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Installation view, Luhring Augustine

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Relief éponge or (RE 47 II),  Yves Klein Estimate: £5 – £7 million. Price Realized: £5,865,250. Image via Christie’s

Last night, Christie’s evening sale of post-war and Contemporary art in London totaled £39,149,500, exceeding the pre-sale estimate of £26,290,000 to £38,260,000. More than half of the lots offered sold above estimate, and in selling 9 works over  £1 million (16 over $1 million), the auction house easily surpassed the equivalent figure for all three of their auctions of Post-War and Contemporary art in London last year.  The evenings auction confirmed that not only has confidence returned to the art market but also that there is a real hunger from international collectors in this market – Europeans dominated the bidding, eventually accounting for 41% of the sales, 22% of works sold to Americans, 31 percent went to Britain. Four percent went to Asia. Particularly strong prices were realized for classic European artists including Yves Klein as well as Joana Vasconcelos and Alighiero Boetti, both of whose work established world record prices.The strong results at our international auctions during the second half of last year encouraged vendors who were previously resistant to consign works of art, and the increased supply of quality works fed a strong demand and led to competitive bidding.

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Self-Portrait with a Black Eye, Lucian Freud. Estimate: Image via Sotheby’s

Sotheby’s auction house will kick off this week’s major round of contemporary sales in New York with an 80 lot sale that is expected to realize in excess of £32 million on Wednesday, February 10. Christie’s expect to fetch at least £26,290,000 from 52 lots at their evening sale on Thursday, February 11. In November, Sotheby’s Postwar and Contemporary Sale in New York marked a major turning point in art market history when Andy Warhol’s 200 One Dollar Bills, sold for $43,762,500 over an estimate of $8-12million. The coming week could therefore be seen as an important one in establishing price-levels in a still relatively undetermined contemporary art market – the area most heavily effected by the global recession.  The many heavyweight pieces on offer this week undoubtedly reflect a confidence in sellers resulting from November’s impressive sale – the sales are spearheaded by important and rare works by Peter Doig, Yves Klein, Lucian Freud, Gerhard Richter, Chris Ofili, Neo Rauch and Martin Kippenberger. Contemporary week also falls in the wake of the incredible $104.3 million sale of Giacometti’s “L’homme qui marche I” (The Striding Man I) at Sotheby’s that set a new world record by becoming the most expensive work of art ever sold at auction. This week overall, Sotheby’s and Christie’s expect to bring in at least $365.3 million combined, $144.6 million in 2009, up from $332.5 million in February 2008.

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The First Annual Art Awards via Guggenheim.org

Last night, October 29, marked the inauguration of a new annual art event: Rob Pruitt presented The First Annual Art Awards at the Solomon R. Guggenheim Museum, New Yorkin association with the city’s oldest alternative art space, White Columns.

The awards were conceived by artist, Rob Pruitt, as a performance-based artwork; for the occasion he recruited the characters of Index Magazine’s wry satirical web series, Delusional Downtown Divas. The New York Times have reported that “…the Divas schemed to infiltrate the art establishment by any means possible. In one segment they pitched a tent in the Guggenheim, doing their laundry in the lobby fountain.”

Jeffrey Deitch and Kembra Pfahler at The First Annual Art Awards at the Solomon R. Guggenheim Museum via style.com

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Polar Bears of the Liro, Marc Quinn (2008) Sold within estimate range for £97,250

The Contemporary Sales at Phillips de Pury & Company on Saturday October 17 offered a truly diverse selection of works from premier Contemporary artists. The 43-lot evening sale included four unique works by Martin Kippenberger from the Bleich-Rossi Collection alongside exciting works by Jean-Michel Basquiat, Lucio Fontana, Steven Parrino, On Kawara, Robert Rauschenberg, Andy Warhol and Jonathan Meese. The Day sale kicked off with a charity auction of twenty-one works by internationally renowned artists, including Anselm Kiefer, Rudolf Stingel and Francesco Vezzoli, to benefit the EMERGENCY charitable organization. The total sales from the Day sale amounted to £2,643,713 and the Evening sale brought in £4,104,950 against a low estimate of £5 million.

Concetto Spaziale, Lucio Fontana (1958-60)

Related Links:
Phillips de Pury & Company Website
Full List of Auction Results [Phillips de Pury]
Basquiat sells as buyers get picky at Choosy at $6.7 million auction [Bloomberg]
Signs of Life in London’s Art Market [WSJ]
A Whole New Spectrum of Buyers [Art Market Monitor]

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Paris Bar, Martin Kippenberger

To celebrate Frieze Art Fair, currently underway in London’s Regent’s Park, Christie’s auction house held a series of auctions selling Post-War and Contemporary Art – the most notable of which occurred last night, October 16, and saw many record-breaking sales. The presale estimate for the evening auction was £6.8 million and in the end all but 1 of the 25 contemporary works sold, totaling £11.2 million.  It is of course relevant to note that the totals are down incredibly from last year’s estimates of  £57.8 million – £75.6 million for Christie’s Contemporary Art Evening Sale in London on Sunday, October 19th of last year.  That said, the leading highlights included significant works by Peter Doig, Martin Kippenberger, Damien Hirst, Gerhard Richter, Neo Rauch, Dash Snow, Pino Pascali and a rare, early rediscovered drawing by Lucian Freud. All sale totals stated in this article include buyer’s premiums and come directly from Christie’s official website or courtesy of The Baer Faxt.

Stellwerk (Signal Box), Neo Rauch

Related Links:
Christie’s Homepage
Christie’s Sells $18.3 million, Lures Buyers with Low Estimates [Bloomberg]
Sotheby’s and Christie’s Auction Within Estimates [Reuters]
Auction Reports: post-war and contemporary art [The Art Newspaper]

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Untitled #153, Cindy Sherman (1985). Via Skarstedt Gallery

The current group show at Skarstedt Gallery on E79th Street in New York exhibits the efforts of nine artists to tackle a genre that is of great importance in the canon of Art History: the Self-Portrait.  Once a tool for self-promotion and notoriety, the staff at the Skarstedt Gallery recognize the self-portrait as “a conceptual apparatus of history and are at the disposal of anyone who employs it.” In this instance, the Gallery presents the viewer with the self-fashioned images of Cindy Sherman, Andy Warhol, Rudolf Stingel, John Coplands, Mike Kelley, Martin Kippenberger, Robert Mapplethorpe, Yasumasa Morimura, and Albert Oehlen within the framework of four iconographical themes: Glory, Desire, The Masquerade and Fading.

Untitled (Self-Portrait), Martin Kippenberger (1988). Via Skarstedt Gallery

Related Links:
Skarstedt Gallery Homepage [Skarstedt Gallery]
Self-Portraits at the Skarstedt Gallery event page [Skarstedt Gallery]
Self-Portraits, by Ken Johnson [New York Times]

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Martin Kippenberger’s ‘Untitled’ via Sotheby’s sold for $4.1 million, falling within estimates of $3.5-4.5 million and setting a new record at auction for the artist.

Sotheby’s Post-War and Contemporary Art Evening Sale resulted in another disappointment for the beleaguered auction house following last week’s thin Impressionist and Modern Art sales. Total sales were estimated at $51.8-72.4 million for 49 lots, but the total came up short at $47 million, with 9 lots failing to sell. However, the auction is not viewed as disastrous, considering Sotheby’s put very little money up front, and the star of the show, a Jeff Koons sculpture from his ‘Celebration’ series, did manage to sell, unlike at last week’s auction.  However, ‘Baroque Egg With Bow (Turquoise/Magenta)’ fell short of its $6 million low-estimate, selling for $5.4 million to Larry Gagosian.  The piece was put up by hedge fund manager Daniel S. Loeb, who originally bought it from Gagosian in 2004 for what is believed to be around $3 million.

While the dollar amounts were nothing compared to a year ago, the auction did sell 81.2% of its lots, with 78.1% of total value realized. Still, the auction comes on the heels of Sotheby’s 1st quarterly earnings report, posting a loss of $66.7 million with the market looking tepid for some time to come.

Sotheby’s Sale Fails to Meet Low Expectations [WSJ]
In ‘a Recalibrated Market,’ Auction Buyers Take Over [NY Times]
Bidders respond to lower prices for contemporary art [Reuters]
Sotheby’s Contemporary Sale Solid but Subdued [ArtInfo]
Loeb Sells Koons Egg for $5.5 Million at Sotheby’s in New York [Bloomberg]
Sotheby’s Tax Benefit Offsets Average Daily Loss of $1 Million [Bloomberg]
Sotheby’s shares tumble after weak auction [Crain’sNewYork]
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Jeff Koons’s ‘Baroque Egg with Bow (Turquiose/Magenta)’ via NY Times goes on sale at Sotheby’s with estimates between $6-8 million

The spring Post-War and Contemporary Art auctions take place this week in New York at Sotheby’s tonight, Christie’s tomorrow night, and Phillips de Pury on Thursday night. Last week’s Impressionist and Modern Art auctions, covered by AO here, and also here, brought in far less than a year ago, but considering the economic climate were viewed as middling successes (aside from Sotheby’s spectacular Picasso and Giacometti flops).  However, the contemporary sales will be more of a litmus test for a chastened market.  After years of record-setting sales, this year all three auction houses have reined in the estimates, no longer providing the guarantees to sellers that burned them last fall.

Sotheby’s is offering 49 lots, with total estimates of $52–72.2 million, compared to the $362 million it brought in last spring. Highlights include an untitled painting by Martin Kippenberger of a fat man with balloons and Jeff Koons’s ‘Baroque Egg with Bow (Turquiose/Magenta),’ part of the artist’s ‘Celebration’ series, which includes ‘Hanging Heart,’ a sculpture that set the record for a living artist at auction in the fall of 2007. While ‘Hanging Heart’ sold for $23.6 million, ‘Baroque Egg with Bow (Turquiose/Magenta)’is expected to sell for $6-8 million.  Christie’s is offering 54 lots, with total estimates of $71.5–104.5 million.  On the catalog cover is Jean-Michel Basquiat’s ‘Mater,’ a rare occurrence of a female figure within Basquiat’s oeuvre, expected to sell for $5-7 million. A number of works from the collection of Betty Freeman are also up for auction, including David Hockney’s portrait of the philanthropist in her home, ‘Beverly Hills Housewife,’ estimated to go for $6-10 million.  Lastly, Phillips de Pury & Company is offering 43 lots, with estimates of $12.2–17 million. Highlights from that sale include a Robert Gober sculpture of a Farina cereal box, estimated at $2.5-3.5 million, and a late, figurative painting by Philip Guston, estimated at $1-1.5 million.

The sales also include a number of Minimalist works by artists such as Dan Flavin, Donald Judd, Sol Lewitt, and Agnes Martin.  Many experts view these works as under-priced, and present more in museum collections than private collections.  This round of sales sees fewer works by the Pop artists that made headlines in the boom times like Warhol and Rauschenberg.

Rare and Spectacular Master Works Highlight Christie’s Post-War & Contemporary Art Sale [Artdaily]
Little Warhols [NY Mag]
Phillips de Pury & Company Announces the Highlights from its Forthcoming New York Contemporary Art Part I Sale [Artdaily]
The art market: Skinny sales and demoted billionaires [Financial Times]
Jeff Koons’s rabbit: market news [Telegraph]
The Art Market Is Back? Now That’s Surrealism [WSJ]
Sotheby’s Post-War and Contemporary Art Evening Sale [Sotheby’s]
Christie’s Post-War and Contemporary Art Evening Sale [Christie’s]
Phillips de Pury Contemporary Art Part I Sale [Phillips de Pury]

Martin Kippenberger – Spiderman Studio (1996) at MoMA.  Photo (c) Jason Mandella.

Twelve years after his death at age 44, Martin Kippenberger collectors and fans can rest easy knowing his prolific work is well-represented in MoMA’s retrospective exhibition, organized by Ann Goldstein of the Museum of Contemporary Art in Los Angeles and Ann Temkin, MoMA’s chief curator of painting and sculpture.  The German artist, known for his hard living, experimentation, disobedience, and loyalty, managed to amass an astounding amount of work in relatively short career, including paintings, photographs, posters, books, music, and installation work.

MoMA
Martin Kippenberger: The Problem Perspective
March 1-May 11, 2009
The Joan and Preston Robert Tisch Exhibition Gallery, 6th Floor

RELATED LINKS

Exhibition page [MoMA]
Art Review: Martin Kippenberger at MoMA [New York Times]
The Ford Capri as an Artist’s Muse [New York Times “Wheels” Blog]
Taking a Toll: The Art World [New Yorker]
The Artist Who Did Everything [NYMag]
Open Bar Leads to Coat-Check Fiasco at MoMA Kippenberger Retrospective [NYMag]
Kippenberger’s Giant Egg, Likable Communist at MoMA: Review [Bloomberg]
Jill Krementz Photo Journal – Martin Kippenberger [NY Social Diary]
MoMA Presents Major U.S. Retrospective of Influential German Artist Martin Kippenberger [Art Daily]
Martin Kippenberger at MoMA Major US Retrospective [FAD]
Martin Kippenberger Opening at MoMA New York [Panache]

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Encased — 5 Rows (6 Spalding Scottie Pippen Basketballs, 6 Spalding Shaq Attaq Basketballs, 6 Wilson Supershot Basketballs, 6 Wilson Supershot Basketballs, 6 Franklin 6034 Soccerballs) (1993) by Jeff Koons. Lot unsold. Estimate range: £1,800,000 to 2,200,000.

Phillips de Pury & Co. raised a total of £4.2 million at their February 12th auction of contemporary art, with 35 of 53 lots selling. The entire sale was expected to realize £6.8 million – £9.3 million.  The higher priced lots were shunned in favor of those with estimates under £500,000.

The highest priced lot was Martin Kippenberger’s Portrait of Paul Schreber (Designed by Himself), which sold for £432,000, at the low end of its presale estimate of £400,000 to £600,000. The 8-foot high oil, lacquer and silicone is an abstract portrait of Paul Schreber, an early 20th century German judge who suffered several nervous breakdowns, and was the subject of a seminal clinical psychology paper by Sigmund Freud. The portrait is based on a sketch in Schreber’s autobiography, where he draws what he imagines his brain to look like: one healthy side and one ill side. Dan Colen’s Untitled (Going, Going, Go. . .), of a candle whose smoke spells out the painting’s title, sold for £92,500, more than double the high estimate. This sale also set a new auction record for the artist.

Zeng Fanzhi’s Huang Jiguang, from 2006, sold for £360,000 against pre-sale estimates of £200,000 to £250,000. The 11 foot wide depicts a Chinese war hero from the Korean War, who is famous for having sacrificed himself in a crucial battle. Mixing historicity and myth with an abstract landscape as background, Fanzhi is one of China’s foremost contemporary artists and is known for his Mask series.

A Jeff Koons sculptural installation featuring a glass-encased vitrine stocked with various basketballs and soccer balls failed to sell. It was the only lot priced higher than £1 million, and failed to generate a single bid despite being the cover lot by a prominent name.

The auction results were unimpressive on the whole, reflecting the general sense of ambivalent malaise that still plagues the art market. The consensus among many dealers and collectors is that it is a buyer’s market, and many sellers have not adjusted their pricing expectations to reflect the ongoing correction–until this mismatch is corrected, there will continue to be anemic auction results.

Auction Page: Phillips de Pury Contemporary Art Evening Sale
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Koons Work Snubbed for Cheaper Art in London as Bargains Sought [Bloomberg]
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Phillips Sale Misses the Mark [ArtInfo]
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ART MARKET WATCH: £4.2 million at Phillips London [Artnet]
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Phillips de Pury & Company’s London Contemporary Art Sale Results Confirm Market Demand for Quality Works [ArtDaily]

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Martin Kppenberger’s Zuerst die Füsse (Feet First)

The Pope condemns late German artist Martin Kippenberger’s crucified frog sculpture [GuardianUK] and more here [NYTimes]
A critique of Olafur Eliasson’s ‘Waterfalls’ as ineffective “shock and awe” public art [NYSun]
Jeff Koons on Night Talk [YouTube via ArtFagCity]
Guggenheim Foundation receives $1 million from National Endowment for the Humanities [ArtForum]
Banksy’s auction-donated $137,000 work to support Ken Livingstone invalidated due to his anonymity [ArtInfo]
Damien Hirst to open his 2nd ‘Other Criteria’ retail shop next to Sotheby’s on New Bond Street, London [Blomberg]

Installation View via Matthew Marks Gallery

Painting: Now and Forever, Part II remains on view through August 15 as a joint exhibition at Matthew Marks Gallery, 522 West 22nd Street and Greene Naftali Gallery, 508 West 26th Street. The show is a reprisal of one held ten years ago, but from a different angle. The artists in the current show are Kai Althoff, Cosima von Bonin, Merlin Carpenter, Mathew Cerletty, Wojciech Fangor, Katharina Fritsch, Gelitin, Isa Genzken, Poul Gernes, Daan van Golden, Jack Goldstein, Rodney Graham, Wade Guyton, Richard Hawkins, Mary Heilmann, Sophie von Hellermann, Charline von Heyl, Ull Hohn, Sergej Jensen, Mike Kelley, Ellsworth Kelly, Karen Kilimnik, Martin Kippenberger, Michael Krebber, William Leavitt, Michel Majerus, Bjarne Melgaard, Laura Owens, Blinky Palermo, Stephen Prina, R.H. Quaytman, Ugo Rondinone, Paul Sharits, Josh Smith, Reena Spaulings, Lily van der Stokker, Atsuko Tanaka, Paul Thek, Anne Truitt, Kelley Walker, Christopher Wool, and Katharina Wulff.

Painting: Now and Forever, Part II [Artcal]
Painting Now and Forever, Part II at Green Naftali [Flavorpill]
Painting: Now and Forever, Part II at Green Naftali and Matthew Marks [Design Boom]
Painting: Now and Forever, Part II, in collaboration with Green Naftali Gallery [Matthew Marks]
Painting: Now and Forever, Part II [Village Voice]

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