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Since the early 1950s, Richard Artschwager (b. 1923, Washington, D.C.; d. 2013, Albany, NY) has forged a unique path in twentieth-century art, making visual comprehension of space and the everyday objects that occupy it strangely unfamiliar. His work has been variously described as Pop Art because of its derivation from utilitarian objects and incorporation of commercial and industrial materials; as Minimal Art because of its geometric forms and solid presence; and as Conceptual Art because of its cool and cerebral detachment. But none of these classifications adequately define the aims of an artist who specializes in categorical confusion and works to reveal the levels of deception involved in pictorial illusionism.

He received his B.A. in 1948 from Cornell University, New York, followed by a period of study under Amedée Ozenfant, one of the pioneers of abstraction. In the early 1950s, Artschwager became involved in cabinetmaking, producing simple pieces of furniture. After a ruinous workshop fire at the end of the decade, he began making sculpture using leftover industrial materials, then expanded into painting, drawing, site-specific installation, and photo-based work. Artschwager’s first exhibition took place at the Art Directions Gallery, New York in 1959, followed by the first of many solo exhibitions with Leo Castelli in 1965.

Larry Bell (b. 1939, Chicago, IL) is one of the most renowned and influential artists to emerge from the Los Angeles art scene of the 1960s, alongside contemporaries Frank Stella and Donald Judd, and had garnered international repute by the age of 30. Known foremost for his refined surface treatment of glass and explorations of light, reflection and shadow through the material, Bell’s significant oeuvre extends from painting and works on paper to glass sculptures and furniture design. Bell’s use of commercial industrial processes in his studio, located in Venice, California since the 1960s, demonstrates his unparalleled skill and dedication in each step of his sculptures’ fabrication.

Bell’s artworks are present at the following museums: Albright-Knox Art Gallery, Buffalo; Art Institute of Chicago, Chicago; Centre Georges Pompidou, Paris; Dallas Museum of Art, Dallas; Solomon R. Guggenheim Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; LACMA, Los Angeles; The Menil Collection, Houston; Minneapolis Institute of Arts; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Houston; Museum of Modern Art, New York; SFMOMA, San Francisco; Stedelijk Museum, Amsterdam; Tate Modern, London; Whitney Museum of American Art, New York; and the Walker Art Center, Minneapolis.

The artist is represented by Hauser & Wirth, New York, Los Angeles, London.

Note: This is a representative image; the actual work to be offered in the auction is in process.

Marius Bercea (b. 1979, Cluj, Romania) grew up during the communist period’s demise, with the Romanian Revolution in 1989 and the later disintegration of the USSR. The effects of this history are evident in the pictorial space that Bercea creates as he alludes to a postcommunist, early capitalist Romania. Venues of recent solo exhibitions include: François Ghebaly Gallery, Los Angeles; Blain|Southern, London, Berlin; Mie Lefever Gallery, Ghent; Brukenthal National Museum, Romania. Group exhibitions include: Green Gallery, Dubai; Mucsarnok Kunsthalle, Budapest; Royal Academy, London; Museum of Art, Cluj-Napoca, Romania and Prague Biennale 4, Prague.

Bercea’s work is in several public and private collections, including the Hudson Vallery Center for Contemporary Art, New York, and the ARKEN Museum of Modern Art, Copenhagen.

The artist is represented by François Ghebaly Gallery, Los Angeles.

For the past 40 years, McArthur Binion (b. 1946, Macon, MS), who describes himself as a “Rural Modernist,” has been producing unconventional, deeply autobiographical abstract compositions, through which he has been complicating and broadening the traditional idioms of abstraction and Modernism. As he describes: “My work begins at the crossroads—at the intersection of Bebop improvisation and Abstract Expressionism.” Eschewing brushes and paint, Binion uses oil stick, crayon, and, more recently, laser-printed images to create his lushly textured and colored, geometrically patterned works. They are formed out of an unlikely confluence of influences, including such Modernist masters as Kasimir Malevich, Piet Mondrian, and Wifredo Lam, as well as his own Southern African-American heritage, reflected in his mother’s quilts, West African textiles, and the rhythms of black music, language, and literature. Labor and simplicity ground Binion’s practice and his laconic, richly personal compositions.

Binion’s works are in major public collections including the Metropolitan Museum of Art, New York; New Orleans Museum of Art, Louisiana; Smithsonian National Museum of African American History and Culture, Washington, D.C.; Detroit Institute of Arts, Michigan; Whitney Museum of American Art, New York; Phillips Collection, Washington, D.C.; and Studio Museum in Harlem, New York.

The artist is represented by Massimo De Carlo, Milan, London, Hong Kong; Lehmann Maupin, New York, Hong Kong, Seoul.

Through painting and drawing, Andrea Carlson (b. 1979, Minnesota) cites entangled cultural narratives and institutional authority relating to objects based on the merit of possession and display. The artist cites her Ojibwe ancestry as a foundation for her investigations of cultural consumption, history and identity, and the intrinsic power of storytelling.

Carlson has been the recipient of numerous grants and fellowships including those awarded by the Carolyn Foundation, the Joan Mitchell Foundation, the Minnesota State Arts Board, and the McKnight Foundation. She has had solo exhibitions at the Minneapolis Institute of Art; La Centrale at the Powerhouse, Montreal, QC; and the Plains Art Museum, Fargo, ND, among others.

The artist is represented by Bockley Gallery, Minneapolis.

Peter Fend (b. 1950, Columbus, OH) is interested in the creative transition “from image to plan.” He considers himself more of an architect than artist in his desire to gather authoritative evidence on global issues and seek out solutions. His writing, collages, paintings, and appropriated imagery often take the form of research reports that might impart knowledge on his viewer.

Fend’s work has been shown in many institutions, including: Fondazione Zimei, Montesilvano, Italy; Pinksummer, Genova, Italy; Galerie Barbara Weiss, Berlin; The Oracle, Berlin; Galerie für Landschaftskunst, Hamburg, Germany; Sao Paulo Biennale; Smart Museum, University of Chicago; Institute for Contemporary Art, London; Assemblée Nationale, Paris; The Kitchen, New York; Kunsthalle Wien, Vienna; Venice Biennale; ICA Philadelphia; and Documenta VII, VIII, IX, Kassel, Germany.

The artist is represented by Essex Street, New York.

The text-based art of Jenny Holzer (b. 1950, Gallipolis, OH) appears in places one wouldn't expect to find it. On t-shirts, billboards, parking meters, benches, and LED signs (Holzer's signature medium), her stark one-liners call attention to social injustice and shed light on dark corners of the human psyche. Her works are intended to generate debate and make us think critically. A political activist as well as an artist, Holzer's aim is to disrupt the passive reception of information from damaging sources.

Holzer has created work for exhibitions worldwide and appears in collections, both public and private, including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Tate Modern, London; MASS MoCA, North Adams, MA; Museum of Contemporary Art, Chicago; Fondation Beyeler, Basel. Additionally, the artist’s permanent installations can be found at the University of Pennsylvania, Williams College, the Smithsonian American Art Museum, in the lobby of 7 World Trade Center, and in the Minneapolis Sculpture Garden.

The artist is represented in New York by Cheim & Read, in Berlin and London by Sprüth Magers, and in Paris by Yvon Lambert Gallery.

Alfredo Jaar (b. 1956, Santiago, Chile) uses photographs, film, installation, and new media to create compelling works that examine complex socio-political issues and the limits and ethics of representation. By using a hybrid form of art-making, Jaar has consistently provoked, questioned, and searched for ways to heighten our consciousness about issues often forgotten or suppressed in the international sphere, while not relinquishing art’s formal and aesthetic power. Over his career, Jaar has explored significant political and social issues including genocide, the displacement of refugees across borders, and the balance of power between developing and industrialized nations.

Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice, Italy; São Paulo, Brazil; and Documenta in Kassel, Germany. His work can be found in the collections of the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Chicago; Los Angeles County Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Spain; Louisiana Museum of Modern Art, Denmark; M+, Hong Kong; and dozens of other institutions worldwide.

The artist is represented by Galerie Lelong, New York.

Chicago-based artist Caroline Kent received her MFA in 2008 from the University of Minnesota. Working within the historied language of abstract painting, Kent investigates how that language is understood amid highly subjective cultural contexts. Kent’s painting practice is a constant pursuit of concretizing a language that speaks beyond the corridor of a traditional painting practice to engage subjects related to the moving image as well as the written word.

Kent’s work has been exhibited at a number of venues, including the DePaul Art Museum, Chicago; Unisex, Brooklyn; California African American Museum, Los Angeles; Public Functionary, Minneapolis; the Suburban, Chicago; Washington Park Arts Center, Chicago; Goldfinch, Chicago; and the Rochester Art Center, Minnesota. Her work is present in the permanent collections of Macalester College and the Walker Art Center. Kent is the recipient of numerous awards, including the Jerome Fellowship (2009), the Creative City Making Grant (2012–13), the Minnesota Artist Initiative Grant (2010, 2015), the Pollock-Krasner Foundation Grant (2015), and the McKnight Artist Fellowship in Visual Art (2016).

Joseph Kosuth (b. 1945, Toledo, OH) is one of the pioneers of Conceptual art and installation art, initiating language-based works and appropriation strategies in the 1960s. Like the work of John Baldessari and Daniel Buren, Kosuth takes art from the physical world into the realm of ideas. In this recent sculpture, Kosuth continues an exploration of semiotic expression, which can be traced back to his seminal work One and Three Chairs (1965), which consists of a wooden chair, a photograph of the same chair, and the dictionary definition of a chair.

The artist’s first solo exhibition took place at the Leo Castelli Gallery; today, Kosuth’s works are included in the collections of the Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Tate Modern, London; Centre Georges Pompidou, Paris; and the Ludwig Museum of Contemporary Art, Budapest, among others.

The artist is represented by Sean Kelly Gallery, New York.

Michael Krebber (b. 1954, Cologne, Germany) lives and works in New York. Krebber has a conceptual approach to painting that questions the fundamental roots of the medium. Rather than invent something new, Krebber’s restrained brushstrokes leave a canvas open and full of possibilities. Like an unfinished sentence, his works leave the viewer guessing what might happen next. Recent solo exhibitions include Kunsthalle Bern, Bern; Serralves Museum of Contemporary Art, Porto; Museum Ludwig, Cologne; and dépendence, Brussels.

Krebber’s work is in the collection of the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; CAPC Musée d'art Contemporain, Bordeaux; Hamburger Bahnhof - Museum of Contemporary Art, Berlin; Museum Brandhorst, Munich; and Museum Ludwig, Cologne. He was awarded the Wolfgang Hahn Prize by the Museum Ludwig, Cologne, in 2015.

The artist is represented by Greene Naftali, New York.

The work of Chicago-based artist David Leggett (b. 1980, Chicago, IL) deals with themes of systematic racism and institutionalized oppression in the United States. His cartoonish drawings and paintings are expressions of political and social satire that demand attention and implore of their viewer where they stand in relation to the content. Inspired by the Imagist movement and its use of pop and sub-cultural references, Leggett incorporates and collages text, photographic images, political slogans, and portraits of black power icons.

Leggett's work has appeared in solo shows at Kimmerich Gallery in Berlin, Germany; Shane Campbell Gallery in Chicago; Gallery 400 in Chicago; Grand Gallery in Chicago; and more. His work has also been exhibited in numerous group shows at galleries including Andrew Rafacz Gallery in Chicago; Trestle Projects in Brooklyn, New York; the Reva and David Logan Center for the Arts at University of Chicago; The Hughes Gallery in Sydney, Australia; Magic Pictures in Philadelphia, Pennsylvania; Regina Rex in Queens, New York; ADA Gallery in Richmond, Virginia; The New Museum of Contemporary Art in New York; to name a few. He has been featured in Blouin Artinfo, Time Out Chicago, and The New Yorker.

The artist is represented by Shane Campbell Gallery, Chicago.

Goshka Macuga (b. 1967, Warsaw, Poland) is known for using institutional histories as staging grounds for complex proposals. When the Walker presented her first US solo museum exhibition in 2011, she seized upon the museum’s financial underpinnings in the lumber business of its founder, T. B. Walker, and linked this history with that of contemporary art and the economic and nationalist mythologies of the American landscape. Goshka Macuga: It Broke from Within included elements from the Walker collections and archives against a monumental tapestry depicting the “Lost Forty” pine forest in Northern Minnesota, which survived logging due to a surveying error. Untitled/Town Square Manifesto is one of the works she created for this exhibition.

Macuga's work has been the subject of solo exhibitions at the New Museum, New York; Fondazione Prada, Milan; Swedish Contemporary Art Foundation, Stockholm; Museum of Contemporary Art, Chicago; and was included in the 8th Berlin Biennale and dOCUMENTA (13).

The artist lives and works in London and is represented by Andrew Kreps Gallery, New York.

Dianna Molzan’s (b. 1972, Tacoma, WA) simultaneous dedication to painting and seizure upon external material and conceptual realms makes for open ended resolution. As such, the artist’s practice exudes a sense of conflict—a comfortable unease with being at odds with itself. This is not to say that these works suffer from any lack of intellectual framework, skillful execution, or status as discrete objects—quite the opposite. Molzan invites viewers to engage with the work’s expansions and contractions, imbrications and dualities, and ultimately, with the very activity of painting itself.

Molzan’s work has been included in numerous exhibitions, those at ICA Boston; Whitney Museum of American Art, New York; Museum of Modern Art, New York; Hammer Museum, Los Angeles; Rubell Family Collection/Contemporary Arts Foundation, Miami; and the Walker Art Center, Minneapolis.

The artist is represented by Kristina Kite Gallery, Los Angeles.

In her “photography of photography”, Milan-based Linda Fregni Nagler (b. 1976, Stockholm, Sweden) explores ideas of the veracity of images in works that begin with anonymous found photographs from the late 19th and early 20th century. With the added distance of time and culture, the images take on new connotations as she appropriates them or re-photographs them herself. In one series, Nagler recreated images from Japan’s Meiji period by creating detailed tableaux vivants in elaborate, bizarre sets. With subtle shifts, contemporary re-creations are shown alongside the reprinted originals, the images belying their artificiality with painted-on tattoos, two-dimensional props, and rainy scenes where water droplets are cut into the actual photograph or suggested by threads suspended in the studio.

She has exhibited work at MAXXI, Rome; Nouveau musée national de Monaco, Monaco; Fondation d'entreprise Ricard, Paris; Centre national d'art contemporain de Grenoble; and the Italian Academy at Columbia University, New York.

The artist is represented by Galleria Monica de Cardenas, Milan.

The hand embroidered textile pieces of Jordan Nassar (b. 1985, New York, NY) address an intersecting field of language, ethnicity and the embedded notions of heritage and homeland. Treating craft within its capacity as communicative form, Nassar examines conflicting issues of identity and cultural participation using geometric patterning adapted from Islamic symbols present in traditional Palestinian hand embroidery. Nassar generates these symbols via computer and then meticulously hand stitches them onto carefully mapped-out patterns. In the enmeshing and encoding of these symbols within his work, Nassar roots his practice in a linguistic and geopolitical field of play characterized by both conflict and unspoken harmony.

Nassar is a graduate of Middlebury College in Vermont and has been exhibited at Artport, Tel Aviv; Evelyn Yard, London; Essex Flowers, New York; Abrons Art Center, New York; Printed Matter Inc., New York; Katonah Museum of Art, Katonah, NY; Fortnight Institute, New York; Ace Hotel, New York; and Soho House, New York, Istanbul.

The artist is represented by Anat Ebgi, Los Angeles.

The work of Minneapolis/Saint Paul-based artist Ruben Nusz (b. 1978, South Dakota) playfully engages with color. The artist's precise and meticulous process produces thoughtful compositions of line and form. On the surface of a Nusz painting, the color blocks vibrate alongside one another. As viewers are drawn closer, they begin to question their own perceptions of light and physicality.

Nusz graduated Summa Cum Laude from the University of Minnesota in 2001 and his paintings have been exhibited at the Walker Art Center, the New Orleans Museum of Art, the Phoenix Art Museum, the Blanton Museum of Art, the Museum of Contemporary Art (San Diego), the Minnesota Museum of American Art, the Rochester Art Center, the Soap Factory, the Kiehl Gallery, and Weinstein Hammons Gallery. His work is present in the permanent collections of the Walker Art Center, The Minnesota Museum of American Art, the North Dakota Museum of Art, the Weisman Art Museum, and the Minneapolis Institute of Art. Nusz has received numerous grants and awards, including a grant from the McKnight Foundation in 2013.

The artist is represented by Weinstein Hammons Gallery, Minneapolis.

Betty Parsons (b. 1900, New York, NY; d. 1982, Southold, NY) was an abstract painter and sculptor who is best known as a dealer of mid-century art. Throughout her storied career as a gallerist, she maintained a rigorous artistic practice, painting during weekends in her Long Island studio. Parsons’ eye for innovative talent stemmed from her own training as an artist and guided her commitment to new and emerging artists of her time, impacting the canon of Twentieth-Century art in the United States. This painting conveys the artist’s expressive and organic use of color and composition. The half-moon shapes and bands of color in a monochromatic field are a hallmark of her practice.

Parsons’ work is present in prominent public collections including The Whitney Museum of American Art, New York, NY; The Smithsonian American Art Museum, Washington, D.C.; The Museum of Modern Art, New York, NY; and Carnegie Museum of Art, Pittsburgh, PA.

The artist's work is represented by Alexander Gray Associations, New York.

Los Angeles artist, sculptor, and designer Matt Paweski (b. 1980, Detroit, MI) wasn't raised in Southern California, though he identifies strongly with the pull of the western United States. The Detroit native, who grew up in Phoenix, denies categorization within the current LA aesthetic ("I feel that things are far too broad these days to try to define my and others' work that way") but admits that the city's "scale of things, the space, the light and climate really help" to contextualize his body of sculptural, furniture-influenced pieces. Paweski received a BFA from Arizona State and an MFA, studying painting and sculpture, from Art Center College of Design. After school, he went to work as a carpenter, cabinetmaker, and welder, which has influenced the rough, DIY-style sculpture he now fabricates in his studio.

Paweski has been the subject of recent exhibitions at Gordon Robichaux, New York; Lulu, Mexico City; Ratio 3, San Francisco; and South Willard, Los Angeles.

The artist is represented by Herald St, London.

Raymond Pettibon's (b. 1957, Tuscon, AZ) work embraces a wide spectrum of American high and low culture, from the deviations of marginal youth to art history, literature, sports, religion, politics, and sexuality. Taking their points of departure in the Southern California punk-rock culture of the late 1970s and 1980s and the do-it-yourself aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement, his drawings have come to occupy their own genre of potent and dynamic artistic commentary.

Pettibon was recently included in the New Museum’s 40th anniversary show Who’s Afraid of the New Now? 40 Artists in Dialogue. Museum collections which hold works by the artist include the Centre Georges Pompidou, Paris; Hamburger Bahnhof - Museum für Gegenwart, Berlin; Israel Museum, Jerusalem; Museum of Modern Art, New York; San Francisco Museum of Modern Art; Tate Gallery, London; and the Whitney Museum of American Art, New York, among others.

The artist lives and works in New York and is represented by David Zwirner Gallery, New York.

Lari Pittman (b. 1952, Los Angeles, CA) is a contemporary American artist best known for his collage-like paintings and prints which integrate multiple pictorial languages into a single work. Melding advertisements, gestural abstraction, Surrealism, Victorian silhouettes, and Folk art, the artist revels in dichotomies of ugliness and beauty, chaos and calm. Like the artist Philip Taafe, Pittman takes on grandiose ideas of death, transcendence, and semiotics in a way both light hearted and profound. “I want to offer a painting that somehow the viewer has to stand in front of it and almost not believe it,” he said of his work. “But in the act of not believing it, what they’re actually seeing, they get swept away in it.”

Pittman received both his BFA and MFA from the California Institute of the Arts in Valencia. He has gone on to be included in four Whitney Biennials and has been the subject of numerous solo exhibitions in the United States and abroad. Pittman continues to live and work in Los Angeles with his partner Roy Dowell. Today, his works are in the collections of the Carnegie Museum of Art, Pittsburgh; Whitney Museum of American Art, New York; Museum of Contemporary Art, Chicago; Stedlijk Museum, Amsterdam; and Los Angeles County Museum of Art, among others.

The artist is represented by Regen Projects, Los Angeles.

Sigmar Polke (b. 1941, Oleśnica, Poland; d. 2010, Cologne, Germany) is widely recognized for his multidisciplinary output of paintings, photographs, drawings, prints, objects, installations, and films. Characterized by a relentlessly experimental and inquisitive approach to a wide variety of styles and subject matter, the artist's work engages unconventional materials and techniques, and playfully defies social, political, and aesthetic conventions. Throughout his prolific career, Polke challenged the limits of his subject matter and materials in a rigorously inventive investigation of image-making and perception.

His work was recently the subject of a critically acclaimed traveling retrospective that was held in 2014-2015 at The Museum of Modern Art, New York; Tate Modern, London; and Museum Ludwig, Cologne.

The artist's work is represented by Michael Werner Gallery, New York and London.

Ritual, religion and mythology are prevalent themes within the work of Laure Prouvost (b. 1978, Lille, France). This painting references the naive style of ex-voto (a religious offering given in order to fulfill a vow) paintings made by devout followers of the catholic religion at Sacre Coeur in Marseille. The image of a sunset, breasts floating in water, and the text "there were fishes eating raspberries" is reflected in a mirror that is cut into the shape of a cloud. The work operates to explore notions of perception and systems of representation.

Prouvost received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. Solo exhibitions have been organized at the Kunstmuseum Luzern, Switzerland; Pirelli HangarBicocca, Milan; Museum Für Moderne Kunst, Frankfurt; Red Brick Art Museum, Beijing; New Museum, New York; Laboratorio Arte Alameda, Mexico City; Whitechapel Gallery, London; and Tate Britain, London. She won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013.

The artist is represented by Lisson Gallery, New York.

One of the most rigorous and inventive practitioners to emerge from the Conceptual art movement in the late 1960s, Allen Ruppersberg (b. 1944, Cleveland) has explored a wide range of media and approaches, rooted in language, images and ideas filtered through the lens of mass culture. His projects consistently focus on the American vernacular—its books, music, popular images, and everyday ephemera—uncovering the visual details and unsung conventions that encourage a rediscovery of the past. Often participatory, Ruppersberg’s works invite a layered experience for the viewer through words and accumulated elements.

The artist’s work is in the collections of Berkeley Art Museum, University of California, Berkeley; Center for Curatorial Studies, Bard College, Annandale-On-Hudson, New York; Denver Art Museum; Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; Milwaukee Art Museum; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; and Whitney Museum of American Art, New York.

The artist is represented by Marc Selwyn Fine Art, Los Angeles.

One of the most rigorous and inventive practitioners to emerge from the Conceptual art movement in the late 1960s, Allen Ruppersberg (b. 1944, Cleveland) has explored a wide range of media and approaches, rooted in language, images and ideas filtered through the lens of mass culture. His projects consistently focus on the American vernacular—its books, music, popular images, and everyday ephemera—uncovering the visual details and unsung conventions that encourage a rediscovery of the past. Often participatory, Ruppersberg’s works invite a layered experience for the viewer through words and accumulated elements.

The artist’s work is in the collections of Berkeley Art Museum, University of California, Berkeley; Center for Curatorial Studies, Bard College, Annandale-On-Hudson, New York; Denver Art Museum; Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; Milwaukee Art Museum; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; and Whitney Museum of American Art, New York.

The artist is represented by Marc Selwyn Fine Art, Los Angeles.

Alec Soth’s (b. 1969, Minneapolis, MN) work is rooted in the distinctly American tradition of ‘on-the-road photography’ developed by Walker Evans, Robert Frank, and Stephen Shore. From Huckleberry Finn to Easy Rider there seems to be a uniquely American desire to travel and chronicle the adventures that consequently ensue. He has received fellowships from the McKnight, Bush, and Jerome Foundations and was the recipient of the 2003 Santa Fe Prize for Photography.

Soth has been featured in numerous solo and group exhibitions, including the 2004 Whitney and Sao Paulo Biennials. In 2008, a large survey exhibition of Soth's work was exhibited at Jeu de Paume in Paris and Fotomuseum Winterthur in Switzerland. In 2010, the Walker Art Center produced a large survey exhibition of Soth's work entitled From Here To There. Alec Soth's first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to critical acclaim. Since then Soth has published NIAGARA (2006), Fashion Magazine (2007) Dog Days, Bogota (2007) The Last Days of W (2008), and Broken Manual (2010). In 2008, Soth started his own publishing company, Little Brown Mushroom.

The artist is a member of Magnum Photos and is represented by Weinstein Hammons Gallery, Minneapolis.

Three pieces, each unique:
KM 1199 33º25'32" N 35º27'53" E 476 M
KM 1200 33º25'48" N 35º27'19" E 432 M
KM 1201 33º25'54" N 35º26'41" E 430 M

Rayyane Tabet (b. 1983, Achqout, Lebanon) lives and works in Beirut. He received a Bachelor in Architecture from The Cooper Union in New York and a Masters in Fine Arts from the University of California in San Diego.

Tabet has had solo shows at Kunstverein in Hamburg; daadgalerie, Berlin; Witte de With Center for Contemporary Art, Rotterdam; Museo Marino Marini, Florence; and TROUW Amsterdam (2014). His work has featured in the Biennale of Sydney, the Istanbul Biennial, the São Paulo Biennial, the Marrakech Biennale, the Sharjah Biennial, the Venice Biennial, and the New Museum Triennial. Tabet is the recipient of the Emerging Artist Award of the Sharjah Biennial, the Jury Prize of the Future Generation Art Prize and the Abraaj Group Art Prize.

The artist is represented by Sfeir-Semler Gallery, Beirut and Hamburg.

Working in a variety of media, including video, installation, photography, and sculpture, Mario García Torres (b. 1975, Monclova, Mexico) creates environments that explore obscure histories and personalities, particularly those associated with conceptual art of the 1960s and 1970s. He juxtaposes facts with imagined scenes and dialogue to foreground the often blurred division between truth and fiction. Appropriation, narrative, repetition, reenactment, and the tropes of reportage are some of the strategies that he employs to uncover the limitations of memory and the subjectivity of historical records.

Solo exhibitions of his work have been organized by Stedelijk Museum, Amsterdam; Kunsthalle Zürich; Fundació Joan Miró, Barcelona; Museo Nacional Centro de Arte Reina Sofía, Madrid; and Hammer Museum, Los Angeles. He has taken part in the 52nd Venice Biennale, 29th São Paulo Art Biennial, dOCUMENTA (13), and appears in the following public collections: Musee de la Ville de Paris, France; Centre Georges Pompidou, France; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; Tate Modern, London; Museo Universitario de Arte Contemporáneo, Mexico; and Museo Tamayo Arte Contemporáneo, Mexico.

The artist is represented by neugerrieumschneider, Berlin and Taka Ishii, Tokyo and New York.

Naama Tsabar (b. 1982, Israel) creates sensually driven installations, performances, and sculptures that examine the charged spaces and multi-sensory zones of nightlife and their associations with notions such as freedom, excess, and escape. Her work treats the venues themselves as structures of power, enabling a display of fantasy, sexuality, and bravado, as well as providing a shelter from the realities of the outside world. She zooms in on the objects and materials which hold a distinct functional purpose within these bigger all-encompassing experiences, inserting them into a new order.

Addressing the implicit gender roles and coded behavior of music and nightlife, Tsabar appropriates and subverts the aggressive gestures of rock and roll and their associations with virility and power. Informed by her experiences as a musician in a punk band and as a bartender, Tsabar probes the culture of rock music from multiple angles, channeling the decadence of urban night culture and its association with danger, seduction, and subversion.

The artist lives and works in New York and is represented by Paul Kasmin Gallery, New York.

Engaging different methods of construction, Oscar Tuazon (b. 1975, Seattle, WA) frequently uses wood, concrete, glass, steel, and piping as materials to create his structures and installations. His works have roots in minimalism, conceptualism, and architecture, and have a direct relationship with both the site in which they are presented, as well as with their viewer, often through physical engagement.

Tuazon lives and works in Los Angeles. His work is currently included in a group show at the Migros Museum für Gegenwartskunst in Zurich, and will be presented as part of a three-person exhibition the Brant Foundation in Greenwich, CT this spring. Recent solo exhibitions include Oscar Tuazon: Hammer Projects, at the Hammer Museum, Los Angeles in 2016 and Studio, at Le Consortium, Dijon, France in 2015.

The artist is represented by STANDARD (OSLO), Oslo.