Frieze New York Past May 5 – May 9, 2021 New York We are pleased to bring together a selection of works by 25 leading artists working across a range of media, offering a snapshot into our expansive global program. Art Fair DetailsFrieze New YorkMay 5 – 9, 2021Online PreviewMay 4, 2021Above: Jeff Koons, Sling Hook, 2007-2009, polychromed aluminum and coated steel chain, 77-1/2" × 37-3/8" × 39-3/8" (196.9 cm × 94.9 cm × 100 cm) plus chain at variable length, Edition of 3 + 1 AP © Jeff Koons LocationThe ShedBooth B11545 West 30th StreetNew York PressPress Release Connect (opens in a new window) @pacegallery Yto Barrada, Untitled (After Stella, Melilla IV), 2021, cotton and dyes from plant extracts, 60" × 61" (152.4 cm × 154.9 cm), unframed 60-1/2" × 61-1/2" × 2-1/2" (153.7 cm × 156.2 cm × 6.4 cm), framed Learn More Yto BarradaYto Barrada’s work is intrinsically imbued with politics, often subtly suggested in symbolic visuals and instilled with a poetic sensibility rather than obvious directives and political positions. The artist’s new series of large-scale textile works continues her exploration into dyeing processes using natural pigments, and alludes to Frank Stella’s Moroccan paintings—begun in 1964 and completed the following year. Each of the 12 paintings in Stella’s series are titled after a city in Morocco. The geometry and brilliance of the fluorescent alkyd paints mimics the colorful tile patterns found during his travels there beginning in the 1960s. Citing his paintings in Barrada’s titles, these hand-sewn textile works similarly present luminous tones in alternating diagonal bands of color. Barrada’s textile works are equally inspired by the painters Mohamed Chebaa, Farid Belkahia, and Mohamed Melehi of the Casablanca Art School in the 1960s. After Morocco gained independence in 1956, these artists pioneered a style of North African modernism that belied traditions of French colonialist history, approaching abstraction through integrating materials and motifs of their local heritage and visual culture. For the present series, Barrada expands Stella’s list of Moroccan cities, adding her hometown of Tangier in compositions using indigo, cochineal, and madder. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Yto Barrada Untitled (After Stella, Melilla IV) 2021 cotton and dyes from plant extracts 60" × 61" (152.4 cm × 154.9 cm), unframed 60-1/2" × 61-1/2" × 2-1/2" (153.7 cm × 156.2 cm × 6.4 cm), framed Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Lynda Benglis, Back Bone, 2017, cast sparkles on handmade paper over chicken wire, 50" × 32" × 12-1/2" (127 cm × 81.3 cm × 31.8 cm) Learn More Lynda BenglisOver her seven decades of artmaking, Lynda Benglis has been celebrated for her unorthodox choices of media. Using materials ranging from beeswax and latex to gold-leaf and porcelain, Benglis has long been a pioneer in pushing the boundaries of sculpture with a radically exuberant artistic output that defies convention. Back Bone, made in 2017, is part of a series of colorful sculptures made from cast sparkles on handmade paper and chicken wire that Benglis began exploring in 2013. Benglis first employed chicken wire in the 1970s with polyurethane and plaster pieces, which she would later combine with paper in the 1980s in her bowtie sculptures. Bending the chicken wire into shape is a highly involved, physical process, and even something of a dance, as two people—four hands—are required to manipulate the material. Constructed from handmade paper stretched over a partially exposed wire structure, Back Bone has a lumpen, glittery surface composed of tracts of yellow, orange, purple, turquoise, and silvery blue. By pairing an open, organic form with colorful, sparkling embellishments, Benglis presents a sculpture that is celebratory and joyful, like the kites and floats the artist loved as a child growing up in Louisiana. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Lynda Benglis Back Bone 2017 cast sparkles on handmade paper over chicken wire 50" × 32" × 12-1/2" (127 cm × 81.3 cm × 31.8 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Mary Corse, Untitled (White Narrow Inner Band with White Sides), 2020, glass microspheres in acrylic on canvas, 42" × 42" (106.7 cm × 106.7 cm) Learn More Mary CorseOver the last five decades, Mary Corse has investigated perception, properties of light, and ideas of abstraction. Her pioneering approach to painting explores the medium’s capacity to utilize and refract light through subtly gestural and precisely geometric works. For the artist, the essence of painting addresses underlying structures of visual experience and their presence within space and time. Corse often emphasizes that her paintings are “not on the wall,” but instead suspended in a visual relationship between viewer and canvas.Corse has pursued an interest in perception since the late 1960s when she began incorporating glass microspheres—an industrial material used to enhance pavement markings—into the surfaces of her paintings. This element, present in Untitled (White Narrow Inner Band with White Sides) (2020), reflects and refracts light depending on the viewer’s position relative to the optically rich surface. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Mary Corse Untitled (White Narrow Inner Band with White Sides) 2020 glass microspheres in acrylic on canvas 42" × 42" (106.7 cm × 106.7 cm) How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Torkwase Dyson, Liberation Scaled #2 (Bird and Lava), 2020, charcoal, acrylic, oil stick, graphite and collage, 102" × 91" (259.1 cm × 231.1 cm) Learn More Torkwase DysonTorkwase Dyson’s multidisciplinary approach to artmaking interrogates historical and existing infrastructure and architecture, particularly how Black and brown bodies compose, perceive, and negotiate space. Examining ideas of distance and scale and the history and future of black spatial liberation strategies, Dyson’s abstract works grapple with how space is perceived and negotiated, particularly by Black and brown bodies. Black Compositional Thought is integral to understanding Dyson’s practice and functions as a mode of awareness that contends with the formal applications of mark-making and constructions of space to examine the legacy of environmental justice and Black spatial practices.Liberation Scaled #2 (Bird and Lava) (2020) is part of Dyson’s ongoing project, Bird and Lava, which is a multifaceted expression of a question: “If blackness is already an architectonic developed out of liquidity (ocean), can the work embody this phenomenon and offer sensation (sensoria) at the register of liberation?” Interested in the phenomenological presence of geometric forms, painting, and dimensionality, the artist’s hand is present throughout the work, in the layers of wax and ink on paper, and the compositions that gesture to horizon lines and ocean depths. In particular, this wall-sized abstract graphite work offers a surface that appears to shift and move under light and with movement, like waves contained within geometry. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Carousel slide 10 Carousel slide 11 Carousel slide 12 Carousel slide 13 Torkwase Dyson Liberation Scaled #2 (Bird and Lava) 2020 charcoal, acrylic, oil stick, graphite and collage 102" × 91" (259.1 cm × 231.1 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Elmgreen & Dragset, Dirty Socks (Stainless Steel), 2021, stainless steel, steel, lacquer, socks, 46-7/8" × 24-7/16" × 31-1/2" (119.1 cm × 62.1 cm × 80 cm) unique Learn More Elmgreen & DragsetMichael Elmgreen and Ingar Dragset have collaborated as the artistic duo Elmgreen & Dragset since 1995. Their practice has developed various modes of making, spanning sculpture, architecture, performance, and installation, to explore the politics of institutions and draw attention towards how art is presented and perceived. Their work radically re-contextualizes objects and alters traditional modes of representation. Often playful and subversive, their work pursues complex questions and themes relating to identity, sexuality, and mortality, as well as the use of public space.Elmgreen & Dragset’s Dirty Socks (2021) subverts traditional notions of objectification and desire. The visual appearance of this sculpture responds to Peter Hujar’s black and white photograph, Christopher Street Pier #2 (Crossed Legs) (1976). The position of the crossed legs of the sculpture is drawn directly from the subject in this iconic work. Just as Hujar powerfully captured queer life in New York City, the queer experience also plays a profound role in Elmgreen & Dragset’s work. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Elmgreen & Dragset Dirty Socks (Stainless Steel) 2021 stainless steel, steel, lacquer, socks 46-7/8" × 24-7/16" × 31-1/2" (119.1 cm × 62.1 cm × 80 cm) unique How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Sam Gilliam, Untitled, 2020, watercolor on washi, 39-1/2" × 71-1/2" (100.3 cm × 181.6 cm), paper Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Sam Gilliam Untitled 2020 watercolor on washi 39-1/2" × 71-1/2" (100.3 cm × 181.6 cm), paper How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Sam GilliamKnown for his canonical Drape paintings, which expanded the tenets of Abstract Expressionism, Sam Gilliam is considered one of the great innovators in post-war American painting. Gilliam emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of the Washington Color School. Since completing his art education in the early 1960s, Gilliam has been creating richly colored abstract compositions using watercolors on Japanese washi paper. The techniques that Gilliam has explored in watercolor—staining, folding, and otherwise distressing the surface of the paper—have exerted a powerful effect on his artistic practice as a whole. As Gilliam’s practice matured, his watercolors began to play a powerful role in shaping his own approach to the canvas, developing a new sense of freedom and an embrace of abstraction.Gilliam’s most recent watercolors expand on his practice, making color palpable, a physical, textural presence that seems to belong more to our world than to the surface of the painting. Color and support are inseparable: the paper becomes the color, rather than a vessel for it. Like his draped canvases, the creases and folds of the fabric evoke a sense of depth which is echoed in the composition of each watercolor painting. In Untitled (2020), vertical washes of color on each flattened surface create the illusion of folds or pleats within rich and rhythmic planes of light and dark that bleed and overlap. Like much of Gilliam’s work, both chance and choice play an important role, echoing the artist’s love of jazz, with its improvisatory ethos and spontaneity. Read More Loie Hollowell, Fourteen Saints, 2020, oil, acrylic medium, epoxy resin, on linen over panel, 28" × 21" × 2-1/4" (71.1 cm × 53.3 cm × 5.7 cm) Learn More Loie Hollowell Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Loie Hollowell Fourteen Saints 2020 oil, acrylic medium, epoxy resin, on linen over panel 28" × 21" × 2-1/4" (71.1 cm × 53.3 cm × 5.7 cm) How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Jeff Koons, Sling Hook, 2007-2009, polychromed aluminum and coated steel chain, 77-1/2" × 37-3/8" × 39-3/8" (196.9 cm × 94.9 cm × 100 cm) plus chain at variable length Learn More Jeff KoonsJeff Koons’ Popeye series, begun in 2002, incorporates some of the artist’s recurrent signature ideas and motifs, including surreal juxtapositions of everyday objects, cartoon and kitsch imagery, art-historical references, and children’s toys. Having used inflatables in his work since the late 1970s, the sculptures featured in this series demonstrate Koons’ continued interest in cast metal readymades.In Sling Hook (2007–2009), an example from the Popeye series, two inflatable lobster and dolphin pool toys—both meticulously rendered from aluminum and steel—are suspended from glossy red chains attached to separate hooks. At once hard and soft, familiar and uncanny, these objects defy reason and material use. Here, Koons imbues a postmodern nostalgia to mass-produced pool toys with incredible deft energy. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Jeff Koons Sling Hook 2007-2009 polychromed aluminum and coated steel chain 77-1/2" × 37-3/8" × 39-3/8" (196.9 cm × 94.9 cm × 100 cm) plus chain at variable length Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Maya Lin, The Traces Left Behind (From the Great Bear Lake to the Great Lakes), 2019, recycled silver, 28 individual cast pieces, 10' 3" × 11' 2" × 3/8",overall installation dimensions Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Maya Lin The Traces Left Behind (From the Great Bear Lake to the Great Lakes) 2019 recycled silver, 28 individual cast pieces 10' 3" × 11' 2" × 3/8",overall installation dimensions How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Maya LinMaya Lin’s long-established environmental activism and interest in geology, topography, and cartography have informed her practice ever since the artist’s earliest site-specific sculptures and experiments with earthworks. This site-specificity, wherein Lin’s artworks respond to their site, space, and surrounding architecture allows for a meditative and critical consideration of our environment and the natural world. Lin’s practice incorporates not only traditional approaches to design, architecture, and artmaking but also comprises scientific methods such as satellite technology and cartographic techniques.The Traces Left Behind (From the Great Bear Lake to the Great Lakes) (2019) is an archetypal example of the practical implementation of Lin’s comprehensive environmental, historical, and ecological research, as well as her preferential use of recycled materials. Originally exhibited as part of the artist’s 2019 solo exhibition at the Grand Rapids Art Museum in Michigan, this expansive relief cast from recycled silver is a continuation of Lin’s decades-long investigation into bodies of water and their meaning as a finite resource. For The Traces Left Behind, Lin raises awareness of the Great Lakes of North America and their geographical and geological histories by mapping the spread of bodies of water—stretching from the Arctic to the Great Lakes—that were once created due to the melting of the Laurentide Ice Shelf that at one time covered much of North America. As Lin has stated about this work, “A lot of my work has been about mapping the natural world and revealing aspects of the environment that you may not be aware of…[The Traces Left Behind] takes a very recognizable mapping of the Great Lakes but adds the series of large lakes formed during the last ice age—creating a constellation-like flow of water that drifts along an invisible boundary line where the glaciers carved out these bodies of water when they retreated.”Maya Lin’s latest public commission, the installation Ghost Forest at Madison Square Park, New York, is currently on view until November 14, 2021. Read More Agnes Martin, Untitled, 1995, pencil, ink and watercolor on paper, 11 x 11" (27.9 x 27.9 cm) 15-1/4" × 15-1/4" × 1-1/4" (38.7 cm × 38.7 cm × 3.2 cm), frame Learn More Agnes Martin Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Agnes Martin Untitled 1995 pencil, ink and watercolor on paper 11 x 11" (27.9 x 27.9 cm) 15-1/4" × 15-1/4" × 1-1/4" (38.7 cm × 38.7 cm × 3.2 cm), frame How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Beatriz Milhazes, Uva Passa, 1999, acrylic on canvas, 90" × 38-3/8" (228.6 cm × 97.5 cm) Learn More Beatriz MilhazesBeatriz Milhazes juxtaposes South American imagery with European modernist influences within a practice consisting of painting, collage, printmaking, textiles, and architectural installations. A pioneering figure of the Brazilian Geração 80 movement in the 1980s, Milhazes embraced the group’s appreciation of aesthetic value and promotion of a return to painting following the proliferation of conceptual artworks during the previous decade. The artist’s recognizable approach to abstraction, described by Milhazes as “chromatic free geometry,” combines decorative arabesque forms, repeated stylized motifs, and a flamboyant celebration of color. Many of these shapes and hues derive from the botanical gardens, Tijuca forest, and oceanfront that neighbor the artist’s studio and reflect Milhazes’s innate interest in flora and fauna of her native Brazil.Here, Milhazes employs her patented mono-transfer painting method, a unique form of monoprinting she has developed since 1989. Milhazes paints directly onto firm plastic sheeting before imprinting imagery onto canvas, a technique that, when repeated, creates multilayered yet smooth-surfaced paintings. The innovative process does, however, produce and expose occasional unintentional erratum or involuntary variations, an idiosyncrasy welcomed by Milhazes. Uva Passa, which translates as “raisin,” presents many of Milhazes favored motifs—stars, spirals, flowers, and hearts—in a kaleidoscopic carnival of color and form. Inspired by the aforementioned Brazilian wildlife and the country’s rich cultural history of ceramics, couture, and jewelry, Milhazes acknowledges these conventional crafts through her use of satisfying patterns and sumptuous ornamentation. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Beatriz Milhazes Uva Passa 1999 acrylic on canvas 90" × 38-3/8" (228.6 cm × 97.5 cm) How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Robert Nava, Eye to Eye Riders, 2020, acrylic, crayon, and grease pencil on paper, 30" × 22" (76.2 cm × 55.9 cm) Learn More Robert NavaDriven by his desire to “make new myths” responsive to our times, Robert Nava has created a chimerical world of metamorphic creatures, drawing inspiration from sources as disparate as prehistoric cave paintings, Egyptian art, and cartoons. Rendered through a raw, energetic mixing of acrylic, crayon, and grease pencil, his works on paper of fantastical beasts exude a playful candor, which belies the pretensions of high art and invites viewers to reconnect with the unbridled imagination of their childhoods.To develop his uncompromisingly personal style, Nava first dispensed with the rules and conventional attitudes that he had learned while obtaining his MFA at Yale University—a perspective that aligns him with the irreverent “bad” painting first theorized in 1978 by the New Museum’s founding curator Marcia Tucker. Nonetheless, Nava’s hybrid monsters, which range from the dragon-like to the angelic, are thought-out composites that the artist continuously reworks in his sketchbooks. Drawing, a daily investigatory discipline for Nava, constitutes the bedrock of his practice. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Robert Nava Eye to Eye Riders 2020 acrylic, crayon, and grease pencil on paper 30" × 22" (76.2 cm × 55.9 cm) How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kohei Nawa, PixCell-Violin#5, 2021, mixed media, 35.7 cm × 35 cm × 35 cm (14-1/16" × 13-3/4" × 13-3/4") Learn More Kohei NawaKohei Nawa is a multidisciplinary artist whose diverse practice explores the perception of virtual and physical space and examines the relationship between nature and artificiality and between the individual and the whole, illustrating how parts aggregating together like cells create complex and dynamic structures. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Kohei Nawa PixCell-Violin#5 2021 mixed media 35.7 cm × 35 cm × 35 cm (14-1/16" × 13-3/4" × 13-3/4") How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kohei Nawa, Direction #120, 2014, paint on canvas, 63" × 39-3/8" × 2-3/8" (160 cm × 100 cm × 6 cm) Learn More Direction #120 (2014) is a monochromatic painting that probes gravity and its effects on both the individual and the whole. Rendered in a palette of black and silver paint, Nawa rotated the vertical canvas fifteen degrees and dripped paint from the top edge of the painting, allowing the material to flow naturally with the weight of gravity. As the paint slowly made its way down the canvas, it left behind bold parallel stripes of varying thicknesses. The stark geometric result evokes movement, direction, and gravity while simultaneously investigating the physical phenomena of liquid materials. Direction #120 pushes the boundaries of painting, as the artist’s hand is completely removed, and the artistic process is transmuted into form, repetition, and flow. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Kohei Nawa Direction #120 2014 paint on canvas 63" × 39-3/8" × 2-3/8" (160 cm × 100 cm × 6 cm) How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Thomas Nozkowski, Untitled (9-30), 2014, oil on linen on panel, 22" x 28" (55.9 cm x 71.1 cm) Learn More Thomas NozkowskiThomas Nozkowski is recognized for his richly colored and intimately scaled abstract paintings and drawings that push the limits of visual language. For the artist, an awareness of perception and the desire to explore the possibilities of seeing is at once grounded in reality and released from specific legibility.Nozkowski’s concurrent practices of painting and drawing reflect specific places and experiences—from the deeply symbolic to the notational—translating sensations and memories into abstract compositions. His paintings draw from personal experience: objects, ideas, books, places, and, more often than not, his reverent walks through nature. Expanding the possibility of landscape painting and the physical presence of an abstract form with each negotiation of the picture plane, Nozkowski’s paintings offer a view of the world that is both rooted in the subjective terrain of experience and an otherworldly space of art and vision. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Thomas Nozkowski Untitled (9-30) 2014 oil on linen on panel 22" x 28" (55.9 cm x 71.1 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Trevor Paglen, Bloom (#7a5a4e), 2020, dye sublimation print, 69" × 92" (175.3 cm × 233.7 cm) 70-1/8" × 93-1/8" × 2" (178.1 cm × 236.5 cm × 5.1 cm), framed Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Trevor Paglen Bloom (#7a5a4e) 2020 dye sublimation print 69" × 92" (175.3 cm × 233.7 cm) 70-1/8" × 93-1/8" × 2" (178.1 cm × 236.5 cm × 5.1 cm), framed Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Trevor PaglenTrevor Paglen’s complex and pioneering work examines the systems and technologies that shape society. Computing systems that collect, interpret, and operationalize data that defines and tracks identity, movement, and habits fuel the artist’s broad practice. Paglen’s Bloom series recalls the vanitas tradition in art, in which symbolic objects such as flowers remind us of mortality, the fragility of life, and the vanity of worldly pleasures. In contrast to the vanitas paintings of the 15th and 16th century, Paglen plays with these symbolic tropes, bringing them into the present day and addressing new measures of mortality in the digital era such as Zoom, AI, policing, and even threats such as COVID-19.Bloom (#7a5a4e) (2020) is part of a series of large-scale photographs that depict flower formations conceptualized by various computer vision algorithms created to analyze the constituent parts of real-life photographs. The colors and shapes in the images represent similar areas that the AI has detected in learning from other images of flowers. The varying densities within the final image do not represent naturally occuring colors so much as what the AI has previously identified as a “flower.” Read More Joel Shapiro, untitled, 2017-2019, painted bronze, 72" × 61-1/4" × 27-1/2" (182.9 cm × 155.6 cm × 69.9 cm), approximately, Cast of 3 +1 AP Learn More Close modal Joel Shapiro untitled 2017-2019 painted bronze 72" × 61-1/4" × 27-1/2" (182.9 cm × 155.6 cm × 69.9 cm), approximately, Cast of 3 +1 AP Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Joel ShapiroThe work of Joel Shapiro engages with the American minimalist tradition—prevalent during his formative years spent studying in New York during the 1960s—while simultaneously considering a modernist approach to figuration. By combining a bold, geometric reflection on form with an economy of line and mass, Shapiro’s sculptures are more suggestive than representational. Eschewing gender, race, and physique in favor of a thorough examination of a person’s relationship to space and their surroundings, Shapiro’s figures reflect the universality of the human condition. They have become a popular feature for public commissions, as the artist presents over 30 public sculptures worldwide.Untitled (2017–2019) is in keeping with the stick-figure compositions begun by Shapiro in the 1980s. Here, figuration is distilled to six rectangular shapes, reducing the almost life-sized human form to sharp lines and hard corners while still retaining a dynamism of implied movement that engages and excited the viewer. Conveying a pioneering approach to balance, Shapiro’s sculptures often depict a figure in the act of dancing, running, jumping, contorting, or falling, always choreographed in just a way as to seemingly simultaneously defy, and succumb to, earth’s gravitational pull. Untitled encapsulates Shapiro’s amalgamation of postmodernist Minimalism and Geometric abstraction, with an additionally playful approach to color and composition. Read More Raqib Shaw, Summer Dance I-V, 2018, acrylic, graphite, enamel, and rhinestones on paper, 8-1/16" × 8-1/16" (20.5 cm × 20.5 cm), 5 images, each 10-1/2" × 10-1/2" × 1-1/2" (26.7 cm × 26.7 cm × 3.8 cm) frames, each Learn More Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 Carousel slide 8 Carousel slide 9 Raqib Shaw Summer Dance I-V 2018 acrylic, graphite, enamel, and rhinestones on paper 8-1/16" × 8-1/16" (20.5 cm × 20.5 cm), 5 images, each 10-1/2" × 10-1/2" × 1-1/2" (26.7 cm × 26.7 cm × 3.8 cm) frames, each How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Raqib ShawRaqib Shaw mines the personal experiences of both his childhood in Kashmir, India, and his emigration to the UK in 1998 to create labor-intensive artworks that unite eastern and western iconography and visual history. Shaw’s practice centers around the use of enamel paint diligently applied and manipulated with a porcupine quill to achieve an impressive level of meticulous detail and surface texture. Additionally, Shaw furnishes his opulent, paradisal scenes with gemstones and rhinestones, as well as embossed gold detailing comparable to the traditional cloisonné technique used in early Asian pottery. Though incorporating fantastical subject matter and fanciful narratives, Shaw’s artworks are rooted in the artist’s rich and diverse interests and influences, including Persian carpets and miniatures, Japanese architecture and ceremonial garments, Renaissance paintings, and medieval heraldic symbols.The five chapters of Summer Dance each depict an avian-human hybrid, resplendent in bejeweled finery, energetically performing in a celebratory or ritualistic manner. Playing traditional Indian instruments such as a sitar, tabla and a sringa—references to Shaw’s Kashmiri heritage—the five mythical characters form an orchestral ensemble surrounded by parakeets, flowers, blossoming plants, platters of ripe fruits and ornate tumblers of wine. The scene depicted across the five panels of Summer Dance is typical of Shaw’s lavish and luxurious portrayals of a personal, imagined utopia.Pace Gallery will present Raqib Shaw’s latest solo exhibition at the gallery’s Geneva location in June 2021. Read More Arlene Shechet, Sudden Love, 2018, glazed ceramic and painted steel, ceramic, 21" × 17" × 17" (53.3 cm × 43.2 cm × 43.2 cm) painted steel, 9-3/4" × 9" × 9" (24.8 cm × 22.9 cm × 22.9 cm) overall, 30" × 17" × 17" (76.2 cm × 43.2 cm × 43.2 cm) Learn More Arlene ShechetArlene Shechet’s expansive approach to sculpture has led her to experiment with materials as diverse as plaster, porcelain, clay, and cast paper. Since the mid-1980s, she has crafted a new visual lexicon of richly textured, chromatic, and visceral surfaces. In the last decade, Shechet worked extensively with ceramics, engaging in the delights of a chance-based process that allows her to robustly manipulate her materials—casting, painting, firing, carving, and stacking clay with no predetermined end.Sudden Love (2018) demonstrates Shechet’s technically demanding glazing method that produces seductive, textured surfaces in wide chromatic variation. The polymorphic form of Sudden Love provides a stunning visual contrast between the sculpture’s distinct ridges and its deep, hollowed cavities. Here, Shechet harnesses the inherent hollow nature of ceramics to create an astonishing object that is at once architectural and fluid. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Arlene Shechet Sudden Love 2018 glazed ceramic and painted steel ceramic, 21" × 17" × 17" (53.3 cm × 43.2 cm × 43.2 cm) painted steel, 9-3/4" × 9" × 9" (24.8 cm × 22.9 cm × 22.9 cm) overall, 30" × 17" × 17" (76.2 cm × 43.2 cm × 43.2 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back James Siena, Enderloctant, 2020, watercolor and graphite on paper, 13-1/2" × 17" (34.3 cm × 43.2 cm) 20-1/2" × 23-7/8" × 1-5/8" (52.1 cm × 60.6 cm × 4.1 cm) frame Learn More James SienaFollowing his “visual algorithms”—a predetermined and self-imposed series of rules, restrictions and requisites—James Siena’s practice is guided by fixed parameters. Renowned since the early 1990s for his meticulously rendered enamel on aluminum works, Siena also applies his procedural precision to a variety of mediums, including drawing, lithography, etchings, engravings and woodcuts. Siena’s interest in artificial intelligence, mathematics, linguistics, and semiotics are evident in his intricate linear abstractions that portray labyrinthine compositions sequenced by the artist’s unique geometries. Perhaps surprisingly, Siena’s repetitive, formal, and immensely detailed depictions are all rendered and patiently delineated by the artist himself, eschewing mechanical aid and embracing a freehand approach to draughtsmanship. Many have described Siena’s elaborate, methodical, maze-like constructions as possessing a hypnotic attraction; viewing them is akin to a spiritual or meditative experience. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Carousel slide 7 James Siena Enderloctant 2020 watercolor and graphite on paper 13-1/2" × 17" (34.3 cm × 43.2 cm) 20-1/2" × 23-7/8" × 1-5/8" (52.1 cm × 60.6 cm × 4.1 cm) frame Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back James Siena, Transistiorn, 2020, watercolor and graphite on paper, 25" × 20" (63.5 cm × 50.8 cm) 32-1/2" × 27-1/4" × 1-1/2" (82.6 cm × 69.2 cm × 3.8 cm) frame Learn More For his new series of watercolor works on paper, Siena returned to earlier experiments with watercolor monoprints as a means of further expanding upon the conceptual underpinning of his recent large-scale acrylic on canvas works, exhibited with Pace Gallery in New York as part of his 2019 solo exhibition Painting. Here, Siena uncharacteristically accepts the unpredictable nature of watercolor—its loose liquidity softening and relieving the linear geometries. The present series—produced during the recent Covid-19 lockdown—focus on cropped portions of the modular units portrayed in the earlier paintings. Siena allows the studies to breach the extremities of the paper, implying the continuation of the pictorial plane. With both the medium and the compositions appearing unconfined and unrestricted, Siena continues to examine notions of emergent form and resonances but with a novel sense of liberation. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 James Siena Transistiorn 2020 watercolor and graphite on paper 25" × 20" (63.5 cm × 50.8 cm) 32-1/2" × 27-1/4" × 1-1/2" (82.6 cm × 69.2 cm × 3.8 cm) frame Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Marina Perez Simão, Untitled, 2021, watercolor on paper, 15-1/2" × 11-3/4" (39.4 cm × 29.8 cm) Learn More Marina Perez SimãoRooted in the natural landscape of her native Brazil, Marina Perez Simão’s luminous watercolors pulse with a magnetic, musical, and hypnotic presence. Influenced by painters such as Tarsila do Amaral, Agnes Pelton, and Luchita Hurtado, Simão’s work is situated within a larger constellation of artists who similarly employ landscape to explore the metaphysical elements of nature. With the artist’s new series, Simão presents a symbol of hope—a beacon for a future not yet mapped out but filled with infinite possibilities.Building on the artist’s process of combining her memories with literary and musical references to create singular, abstracted landscapes, Simão’s new body of work reflects the evolution of her artistic practice while quarantining in Brazil this past year. Neither solid nor liquid, sky nor ground, the shapes in Simão’s works defy material classification. Her watercolors and paintings, comprising disparate references and visual cues, often leave the viewer with a sense of continued wonder. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Marina Perez Simão Untitled 2021 watercolor on paper 15-1/2" × 11-3/4" (39.4 cm × 29.8 cm) Inquire How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Kiki Smith, Enchantment, 2019, bronze, 83" × 30" × 4" (210.8 cm × 76.2 cm × 10.2 cm) Learn More Kiki SmithKiki Smith rose to prominence in the 1980s with her defiant and uncompromising approach to figuration, directly challenging the established views of conventional figurative art with her unflinching portrayal of taboo topics such as AIDS, gender politics, death, and decay. Since then, Smith’s practice has continuously developed and come to encapsulate spirituality, mythology, and mortality, all often examined with respect to the contrasts and similarities existing between the human condition and the natural world. Encompassing sculpture, printmaking, photography, textiles, glasswork, and drawing, Smith’s multidisciplinary and multifaceted practice takes inspiration from many historical visual traditions such as religious relics, folkloric craftsmanship, biological diorama, Byzantine iconography, and medieval memento mori.Enchantment (2019) is a bronze sculptural depiction of a mermaid, one of Smith’s most enduring and oft-recurring motifs, initially employed by the artist as she began to incorporate natural imagery into her humanoid figurative works. The aquatic human-fish hybrid embodies not only Smith’s unwavering approach to figuration that is at once personal and universal but also the artist’s use of folklore, mythology, and fairytales to reflect upon society and human nature. This metallic mermaid is also reminiscent of Smith’s other repeated tropes, the marionette, as its two-dimensional joints imply articulation similar to that of a child’s hand-made paper puppet. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Carousel slide 4 Carousel slide 5 Carousel slide 6 Kiki Smith Enchantment 2019 bronze 83" × 30" × 4" (210.8 cm × 76.2 cm × 10.2 cm) How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Leo Villareal, Optical Machine IV, 2020, LEDs, custom software, electrical hardware, steel, 57-1/2" × 76-1/2" × 4" (146.1 cm × 194.3 cm × 10.2 cm), Edition of 5 + 1 AP Learn More Leo VillarealLeo Villareal works with LED lights to create complex, rhythmic artworks for both gallery and public settings. He focuses on identifying the governing structures of systems and is interested in base units such as pixels and binary code. Villareal is interested in synesthesia and the remapping of the senses. He creates works that exist purely as light but evokes elaborate sonic worlds.Villareal’s Optical Machine series draws upon a history of practices engaged with mass imagery, mechanical reproduction, and the materiality of light. Optical Machine IV (2020) uses LED lights and custom software to translate the layered and sequential logic of systems into beguiling visual experiences that, although abstract, echo the organic behaviors and networks found in nature. Inspired by the rules that govern cellular automata, Villareal develops underlying structures that form complex cosmological models. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Leo Villareal Optical Machine IV 2020 LEDs, custom software, electrical hardware, steel 57-1/2" × 76-1/2" × 4" (146.1 cm × 194.3 cm × 10.2 cm), Edition of 5 + 1 AP How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Brent Wadden, Untitled, 2017, handwoven fibres, wool, cotton and acrylic on canvas, 275 cm × 215 cm (9' 1/4" × 84-5/8") Learn More Brent WaddenSynthesizing traditions of painting, design, craft and folk art, Brent Wadden’s work is the antithesis of mass-produced, machine-made textiles. At every stage of creation, from sourcing the yarn to stretching the finished material over a raw canvas, Wadden is in control. Much like a painter using different types of paint, Wadden uses an array of yarn—including cotton, wool, acrylic, and handwoven fibers—to imbue his artworks with a sense of depth and tangibility. From afar, Untitled (2017) might be mistaken for an abstract painting, but up close, the work reveals a multitude of handwoven hues and textures. In this way, Wadden’s expert handling of material, composition, and color confounds our expectations of media and discipline, surface, and texture.Wadden’s work celebrates what might be considered ‘mistakes’ or ‘imperfections’ in another context by rejecting seamless joins or perfect alignment. It is a purposeful signal to viewers that the work results from a labor-intensive, diligent practice that Wadden has been honing for many years. Wadden has not only formed a method that is distinctively his own, but he also collapses the hierarchies of disciplines, interrogating the boundaries that separate painting from textile, art from craft, decorative from functional. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Brent Wadden Untitled 2017 handwoven fibres, wool, cotton and acrylic on canvas 275 cm × 215 cm (9' 1/4" × 84-5/8") How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back Fred Wilson, Spill Spread Splice Splurge (A.A.), 2017, blown glass, 9' × 28" × 3-1/2" (274.3 cm × 71.1 cm × 8.9 cm), approximate Learn More Fred WilsonFred Wilson’s use of glass has become a unifying element of his career ever since he first began to explore the possibilities of the medium nearly twenty years ago. Since 2001, Wilson has worked alongside prominent American glassblower Dante Marioni with whom he first explored the materialrange of black-colored glass. During this time, Wilson produced his first black glass drips.Wilson has continued to make drip works, including Spill Spread Splice Splurge (A.A.) (2017), a multi-piece installation featuring a series of black drips cascading towards the floor. The reflective surface of the blown glass and the teardrop-like forms suggest liquids such as ink, oil, blood, and tar, and are blown from red glass so dense that it appears black. Close modal View Previous View Next Carousel slide 0 Carousel slide 1 Carousel slide 2 Carousel slide 3 Fred Wilson Spill Spread Splice Splurge (A.A.) 2017 blown glass 9' × 28" × 3-1/2" (274.3 cm × 71.1 cm × 8.9 cm), approximate How can we reach you? First Name* Last Name* Email* Phone Primary Country of Residence * Afghanistan Åland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Asia/Pacific Region Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Cook Islands Costa Rica Cote d'Ivoire Croatia Cuba Curaçao Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic East Timor Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Europe Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern and Antarctic Lands Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Honduras Hong Kong Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macau Macedonia (FYROM) Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island North Korea Northern Mariana Islands Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Réunion Romania Russia Rwanda Saint Barthélemy Saint Helena Saint Kitts and Nevis Saint Lucia Saint Martin Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and the South Sandwich Islands South Korea South Sudan Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syria Taiwan Tajikistan Tanzania Thailand Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu U.S. Virgin Islands Uganda Ukraine United Arab Emirates United Kingdom United States United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe Inquiry Message Have you purchased from Pace before?* Yes No Submit Inquiry Or go back To inquire about any of the artists or works featured in this presentation, please email us at inquiries@pacegallery.com. Read More Past, Frieze New York, May 4, 2021