contemporary collected

Felix Gonzalez-Torres was born on this day in 1957. Installations of his “Untitled” (America) can vary: composed of twelve strings of light bulbs, the work can be shown inside or outside, in an unlimited range of configurations. This work is one of a number by Gonzalez-Torres that includes the word “America” in its title. The light from the bulbs might resonate as cheerful in one context and melancholy in another, leaving viewers to reflect on their own associations with the idea of “America.”

[Felix Gonzalez-Torres, “Untitled” (America), 1994 (96.74.1a-l) as installed in the stairway of the Whitney Museum of American Art. © The Felix Gonzalez-Torres Foundation Courtesy of Andrea Rosen Gallery, New York. Photograph by Ronald Amstutz]

Happy Valentine’s Day!

With a couple posed in a loving embrace, encircled by large pink hearts, a reference to the frivolity that characterizes French Rococo painting, Kerry James Marshall’s Study for Vignette meditates on beauty, love, romance, and harmony in the black experience. Learn more about the work. 

[Kerry James Marshall. Study for Vignette. 2004. Crayon, gouache, and pencil on paper. The Judith Rothschild Foundation Contemporary Drawings Collection Gift. © 2017 Kerry James Marshall]


Final weekend! It’s your last chance to see the full two-floor exhibition Human Interest: Portraits from the Whitney’s Collection, which mines the Museum’s holdings to offer new perspectives on one of art’s oldest genres. See works by Glenn Ligon, Alice Neel, and Andy Warhol, among others. Floor 7 will remain on view through April 2. 

Since I am having to take a couple days off from my new projects, I figured I could post one of my older ones from 2015 from my series “American Wilderness”, which was my first solo show of my career at Roq La Rue Gallery:

“Vulpes vulpes”, 2015, Ball point pen, Ink pencils, Acrylic ink, Marker, Colored pencil, Graphite, and Gel pen  on Hot-Pressed Watercolor Paper, 18 ¼ inches by 24 inches (22 inches by 28 inches framed in custom black frame)

Available for purchase at

Jaime Davidovich’s “Cincinnati Tape Piece”

“I was able to start working there on videotapes and began using adhesive tape. In those works, like in my paintings, there was no starting point, no ending point; they would just continue and continue….”

In an interview with curator Ana Janevski, recorded a few months before his passing, Jaime Davidovich recounts how he began using tape in his works. One of his tape installations, Cincinnati Tape Piece, will be on view in our galleries tomorrow. Read the full interview.

[Jaime Davidovich. Cincinnati Tape Piece. 1972. Pressure-sensitive tape, gelatin silver print, felt-tip pen, and pencil on paperboard. The Judith Rothschild Foundation Contemporary Drawings Collection Gift (purchase, and gift, in part, of The Eileen and Michael Cohen Collection). © 2016 Jamie Davidovich]

(via “I have to go back to New York. I have no choice": Interview with Jaime Davidovich (Part 1) | post)

“New Home”, 2016, Ballpoint Pen, Watercolor Pencils, Ink Pencils, Graphite, Colored Pencil and Gel Pen on Hot-pressed Watercolor Paper, 9 inches by 12 inches (approx. 13 inches by 16 inches framed)

This piece is included in the “Flesh & Bone” group exhibition at BeinArt Gallery in Melbourne, Australia that opens tonight!

For purchase inquiries, please email:

“‘Fast Forward’ reveals a complex subject crying out for attention by outlining how the Neo-Expressionists and their ’80s cohort broke painting wide open. Their legacy is a sense of freedom and possibility that infuses the medium to this day.”  —Roberta Smith on our new exhibition focusing on 1980s painting form the collection. Read more in The New York Times

[Left, Kathe Burkhart’s painting “Prick: From the Liz Taylor Series (Suddenly Last Summer),” from 1987, reprises a movie scene with Elizabeth Taylor and Montgomery Clift. Right, “Baron Sinister” from 1986, by Walter Robinson. Photogaph by Jake Naughton for The New York Times]


This is definitely one of those books where I came for the cover and stayed for the story. I really savoured it the more I read; it was extremely addictive. ‘The Essex Serpent’ has so much that I love: set in the Victorian Era, exploring ideas around religion, gender, and friendship, and written in a gorgeous well-considered style, it was one of the most pleasant reading surprises I had in 2016! AND THAT COVER.

A throwback in honor of our recently announced Laura Owens mid-career retrospective, opening this November. On the left is a work by Owens, now part of our collection, hanging in the 2014 Biennial. Untitled (2014) appropriates a 1970s inspirational poster and reconfigures the image into multiple screenprinted layers, adding thick impasto marks and a wooden grid that cuts through the strata. The background layer, which is sized 3% larger than the foreground, appears to lift off the linen thanks to a trompe-l’oeil shadow, while the upper layer is presented as a gestural scribble. Among some of the unsettling results of this separation are a boy’s fractured face and the jumbled text which reiterates the words “and hang.“

[Installation view of Whitney Biennial 2014 (Whitney Museum of American Art, New York, March 7, 2014–May 25, 2014). Photograph by Sheldan C. Collins]

Nice! A 1941 Lonignes 2 Register Chronograph with a 13ZN movement. For its time, this vintage example wears contemporarily on the wrist, clocking in at 36mm. What a fine vintage timepiece! (Store Inventory # 11063, listed at $8500, available for purchase online & in store.)