PARTICIPATING ARTISTS · Acrylic and oil on yupo paper 14 x 11 in (35.5 x 28 cm) Courtesy of the artist and James Cohan, New York Estimated v alue: $6,500 New York-based artist Firelei

Manal Abu-ShaheenGolnar Adili

Elia AlbaHope Atherton

Firelei BáezLeah Beeferman

Agathe de BailliencourtAli Banisadr

Mona ChalabiKevin Cooley

William CordovaN. Dash

Sandra ErbacherLiana Finck

Yoko OnoKenneth Pietrobono

Claudia Peña SalinasLeah RaintreeGabriel Rico

Paul Mpagi SepuyaArlene ShechetRudy Shepherd

Hrafnhildur Arnardóttir/Shoplifter Elisabeth Smolarz

Sarah Cameron SundeMichael WangMeg Webster

Tim Wilson

PARTICIPATING ARTISTS

Andrea GalvaniEthan Greenbaum

Camille HenrotBrigitte LacombeAnthony Iacono

Basim MagdyShantell Martin

Takesada Matsutani Josephine Meckseper

Julie MehretuSarah MichelsonRichard Mosse

Vik MunizRashaad Newsome

AUCTION COMMITTEE

Waris Ahluwalia, Designer and ActorAnthony Allen, Director, Paula Cooper

Gabriel Calatrava, Founder, CALAndrea Cashman, Director, David Zwirner

Brendan Fernandes, ArtistMichelle Grey, Executive Creative and Brand Director, Absolut Art

Prabal Gurung, Designer, Founder and Activist Peggy Leboeuf, Director, Galerie Perrotin

Michael Macaulay, SVP, Sotheby'sYoko Ono, Artist

Bettina Prentice, Founder and Creative Director, Prentice Cultural Communications Olivier Renaud-Clément

Olympia Scarry, Artist and CuratorAndrea Schwan, Andrea Schwan Inc.

Brent Sikkema, Founder and Owner, Sikkema Jenkins & Co

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Mind-Wind Fusion Drawings #52019

Ink and acrylic on paper26 x 40 in (66 x 101.6 cm)

Courtesy of the artist and Marian Goodman Gallery, New York Estimated value: $80,000

Mehretu’s work is informed by a multitude of sources including politics, literature and music. Most recently her paintings have incorporated photographic images from broadcast media which depict conflict, injustice, and social unrest. These graphic images act as intellectual and compositional points of departure; ultimately occluded on the canvas, they remain as a phantom presence in the highly abstracted gestural completed works. Mehretu’s practice in painting, drawing and printmaking equally assert the role of art to provoke thought and

reflection, and express the contemporary condition of the individual and society. Mehretu has also engaged in creative collaborations; most recently as Set Designer for Only the Sound Remains , Peter Sellars’ staging of Kaija Saariaho’s opera in 2016 commissioned by the Dutch National Opera; and MASS (HOWL, eon) , a recording and installation with artist and musician Jason Moran for Performa 2017.

Julie Mehretu, (b. 1970, Addis Ababa, Ethiopia) lives and works in New York City. She received a BA from Kalamazoo College, Michigan and a Master’s of Fine Art with honors from The Rhode Island School of Design in 1997. She has received prestigious awards including the MacArthur Fellowship and the US Department of State Medal of Arts Award. Her work has been exhibited extensively in museums and biennials including the Carnegie International (2004–05), Sydney Biennial (2006), Solomon R. Guggenheim Museum, New York (2010), DOCUMENTA (13) (2012), Sharjah Biennial (2015), Museu de Arte Contemporânea de Serralves, Porto, Portugal (2017), and the 58th International Art Exhibition, La Biennale di Venezia, (2019). In November 2019 a career survey opened of Mehretu’s work at the Los Angeles County Museum of Art, and will travel to The Whitney Museum of American Art, New York; The High Museum, Atlanta, and The Walker Museum of Art, Minneapolis.

Julie MehretuLot 1

Undulation2020

Ink and felt tip pens on Bristol Paper7 x 10 in (18 x 26 cm)

Courtesy of the artist and Absolut ArtEstimated value: $1,500

Tides caused by the gravitational pull of the moon and the sun are one of the most reliable phenomena in the word. When wind speeds are low, the rise and fall of sea waves become faster. So a gentle sea wave will happen more frequently than a stormy one. Source: Coastal Engineering, 2009 & Brysbaert, M. (2019, April 12)

Mona Chalabi is a writer and artist. Her wonderfully simple, direct and affective visualizations bring to life what is often lost in text and numbers. Covering everything from body hair removal to the popularity of nose jobs in the US to voting statistics, Mona’s clear tongue-in-cheek approach to information communication strives to make sure as many people as possible can find and question the data they need to make informed decisions about their lives. This poetic work immediately slows the viewer down, and creates a portal of shifting awareness away from the mundane towards the profound, in an instant repositioning the individual within the greater context of the natural world.

Mona Chalabi (b. London, England) is a data journalist, illustrator and producer who lives in New York. Chalabi studied international relations in Paris and Arabic in Jordan. Her writing has appeared in The New Yorker, The New York Times, The New York Review of Books, New York Magazine, The Guardian and many more. Her artwork has been featured at several galleries, including Tate Gallery and the Design Museum, London. As a producer and presenter, Chalabi is one half of the team that created the Emmy-nominated video series, Vagina Dispatches.

Mona ChalabiLot 2

Blue Bliss2020

Synthetic fiber on wood. 20” diameter20 x 20 x 4 in (51 x 51 x 10 cm)

Courtesy of Hrafnhildur Arnardottir / ShoplifterEstimated value: $10,000

Working with both synthetic and natural hair, Shoplifter’s sculptures, wall murals and site-specific installations explore themes of vanity, self-image, fashion, identity, beauty, consumer culture and popular myth. Her fascination with hair began as a child when she saw her grandmother store one of her cut-off braids in a drawer, leading to the artist’s exploration of the medium as a material that is beautiful and comforting, yet can also spark disgust. Manipulating hair in ways both familiar – like braiding and knotting – and unfamiliar, like separating it into multi-coloured tufts and grafting it to the wall to resemble overgrowths of fungus or moss, her work appear as manifestations of excited exuberance as well as more oblique references to growth, decay and death.

Hrafnhildur Arnardóttir / Shoplifter (b. 1969, Reykjavik, Iceland) lives and works in New York. Her most recent works include solo exhibitions at Kiasma - the Finnish National Gallery (2019); the National Gallery of Iceland (2017); the Walt Disney Concert Hall, Los Angeles (2017); and the Queensland Art Gallery of Modern Art, Australia (2016). Notable projects and awards include her large window installation created in collaboration with art collective assume vivid astro focus (avaf) for The Museum of Modern Art, New York (2008); The Nordic Award in Textiles; and The Prince Eugen Medal for artistic achievement from the King and Royal Crown of Sweden (2011).

Hrafnhildur Arnardóttir was part of LMCC’s Workspace 2006 - 2007 and Swing Space 2008 artist residency programs.

Hrafnhildur Arnardóttir / ShoplifterLot 3

Seaward Skerries, after Anders Zorn (Pictures of Wire)2013

Archival ink jet print16 x 20 in (40.6 x 50.8cm), work created specially to benefit LMCC

Courtesy of Vik Muniz and Sikkema Jenkins & Co.Estimated Value: $5,000

Vik Muniz painstakingly constructs small and large-scale objects and images out of a wide variety of commonplace materials such as string, wire, paper, dust, and garbage, in order to photograph the work and render it in two-dimensions. Interested in visual illusion as it relates to the world all around us, the artist plays on the moment when one thing turns into another, and back again, drawing out this point of realization for the viewer.

This work is part of Muniz' Wire series, a collection in which the artist creates three dimensional forms out of delicately threaded and molded wire to then photograph. Often the image is an appropriation of a work by a well known artist, in this instance it is Swedish artist Anders Zorn’s etching, Seaward Skerries. The work invites one to look deeply, to double check assumptions, and to see the possibility in everything.

Vik Muniz (b. 1961 São Paulo, Brazil) is best known for repurposing everyday materials for intricate and heavily layered recreations of canonical artworks. Muniz’s recent solo exhibitions were held at Gary Tatintsian Gallery, Moscow, Russia (2018); Mauritshuis, The Hague, Netherlands (2016); Taubman Museum of Art, VA (2015); and Museo de La Universidad Tres de Febrero- Buenos Aires, Argentina (2015), and his photographs are featured in many collections, including The Metropolitan Museum of Art; the Museum of Modern Art; the Tate Gallery; and the Victoria and Albert Museum.

Vik MunizLot 4

Wayward2020

Acrylic and oil on yupo paper14 x 11 in (35.5 x 28 cm)

Courtesy of the artist and James Cohan, New YorkEstimated value: $6,500

New York-based artist Firelei Báez reconfigures visual references drawn from the past to explore new possibilities for the future. The artist’s intricate works explore the ways in which personal and collective identities are shaped by inherited histories. By rendering spectacular bodies that traverse and defy boundaries, Báez carries portraiture into an in-between space where subjectivity is rooted in historical narratives as much as it can likewise become untethered by them. This vibrant new work is an extraordinary example of Báez’s layered and complex portraits. Here, fluid forms are grounded by piercing eyes that hold the gaze of the viewer in a surreal relay of connection. With remarkable skill, Báez energizes her works with powerful and emotional narratives that exist beyond linguistics, and instead reveal themselves with time across the surface of her work.

Firelei Báez (b. 1981, Dominican Republic) lives and works in New York. Her recent solo exhibitions were presented by the Studio Museum, Harlem, NY; Contemporary Arts Center Cincinnati, OH; Kemper Museum of Contemporary Art, Kansas City, MO; DePaul Art Museum, Chicago, IL; Taller Puertorriqueno, Philadelphia, PA; and Utah Museum of Contemporary Art, Salt Lake City, UT. Báez is the recipient of many awards, including the Smithsonian Artist Research Fellowship (2019), Soros Arts Fellowship (2019), the United States Artists Fellowship (2019), among others.

Firelei Báez was part of LMCC’s Workspace 2011 - 2012 artist residency program.

Firelei BáezLot 5

MY MOMMY IS BEAUTIFUL (2 works from series)1997/2018

Pigment inkjet on cold press natural paper12.93 x 12.93 in (32.8 x 32.8 cm)

Edition 7 of 101 Courtesy of the artist

Estimated Value: $2,000

In these two limited edition prints, Yoko Ono presents a mother’s breast and crotch, stripping away artifice and sharing with the viewer an egalitarian recognition of what we all have in common. They are a portrait of everyone’s first introduction to the rest of humanity that, above all, timelessly and profoundly communicates human connection before anything else. The work relates thematically to many earlier works that brings to the audience an objectified and dislocated view of the body – from Cut Piece (1994), a performance in which members of the audience were invited to cut away the artists clothing; a number of films that focused on bodily details such as Film No 4 Bottoms (1966), showing the naked bottoms of people walking; and the public art project In Celebration of Being Human, released in 1994 in Langenhagen, Germany, that displaced political campaign posters, advertising sites, and newspaper advertising with a still image of a bottom from Film No 4 Bottoms . Like so much of Yoko Ono's work, My Mommy is Beautiful is instantaneously simple, direct, profound and endearing. The current lot offers a rare opportunity to personally share in this extraordinary artist's inspirationally uplifting belief in mankind.

Yoko Ono (b.1933) is a New York-based multi-media artist working in performance, instruction, film, installation, music, and writing. A forerunner in conceptual art involving collaboration, audience participation, and social activism since the early 1960s, Ono challenges viewers’ understanding of art and the world around them. Her influence spans many of the key artistic movements of the late 20th century including Fluxus, conceptual art, video art, and feminism. In addition to her work as a visual artist, Ono is also a musical pioneer, both an accomplished singer and songwriter.

Yoko Ono’s public art project “The Reflection Project’’ was part of LMCC’s 2019 River To River Festival.

Yoko OnoLot 6

The End [Action #1] Still #2 2016

C-print mounted on aluminum dibond, gray wood frame. This work is framed with no glass.Framed dimensions: 49 x 61 in (124.5 x 154.9 cm)

Courtesy of the artistEdition: AP 1 of 3 from an edition of 5


Andrea Galvani’s The End [Action #1] Still #2 is part of a complex, multidisciplinary project comprised of a photographic series and a synchronized multichannel video installation documenting one collective action produced on the same day in different geographic locations. The arresting size and beauty of this work transports the viewer into a realm of universal connection across time and space, extending our human perception of the horizon.

Adopting a cross-disciplinary approach that often draws upon scientific methodology, Galvani’s conceptual research informs his use of photography, video, drawing, sculpture, sound, architectural installation, and performance. His work heightens awareness and articulates the limits of sensory perception. Investigating relationships between fragility and monumentality, temporality and continuity, visibility and invisibility, his projects are documents of interventions orchestrated on site. Modifying and distorting natural surroundings, Galvani transforms the environment into a laboratory for physical experiments, cerebral observation, and collective action.

Andrea Galvani (b. 1973, Italy) has exhibited internationally, at venues including the Whitney Museum; the 4th Moscow Biennial; the Mediations Biennial, Poznań, Poland; Aperture Foundation; The Calder Foundation; Mart Museum, Trento; Macro Museum, Rome; among others. His work is part of major collections including the Dallas Museum of Art; Artist Pension Trust; Contemporary Art Society, Aspen Collection; UniCredit Art Collection; the Permanent Collection of the United States Library of Congress, and more. In 2019, he was awarded the prestigious Audemars Piguet prize.

Andrea Galvani was part of LMCC’s Workspace 2009-2010 artist residency program.

Andrea GalvaniLot 7

Golnar AdiliLot 8

Letter Tryptich: Patience; Being Patient; Without2015

Screenprint on five sheets of lens tissue36 x 24 in (91.4 x 61 cm)

Edition 3 of 10Courtesy of the artist

Estimated value: $4,000

Each of these three works is composed of six identical enlarged screen prints taken from the first page of a letter written by the artist’s mother to her father. Layered on top of one another, and rotated half an inch around a word or group of words in each - the noun ‘patience’, the verb ‘being patient, and an adverb ‘without’ - these pages come together to create a blurred abstraction that are almost unreadable. The letter is one of many sent between the artist’s parents in their first year of forced separation during the tumultuous political climate of post 1979 Iran. While the contents of the letter reflects the intense and direct emotions of the time, the formal manipulation and obfuscation of intended meaning by Adili layers onto the work a more subtle, residual and prolonged response of a child’s longing and desire to understand the history of their parents as individuals and within the wider context of their lives.

Golnar Adili (b. 1976, Virginia) is an Iranian-American multidisciplinary artist based in Brooklyn, New York. Her most recent exhibitions include Relative Material at Nurture Art, Brooklyn (2018, group); Language Landscape at Kentler International Drawing Space, Brooklyn (2016); and Displacements: The Craft Practices of Golnar Adili And Samira Yamin at Craft and Folk Art Museum, Los Angeles (2014). Golnar is a recipient of Pollock Krasner Grant, New York City (2014) and a recipient of Smack Mellon Studio Artist Program, Smack Mellon, Brooklyn (2013).

Golnar Adili was part of LMCC’s Workspace 2018 - 2019 artist residency program.

Stream 99-5 1999

Lithograph on paperImage dimensions: 35.8 x 24.8 in (91 x 63 cm)

Edition 3 of 20 Courtesy the artist and Hauser & Wirth


This work is a dramatic example of Matsutani’s tireless investigation into material and form. We see energy and depth thrown into conversation with the sudden introduction of movement across the plane, turning what may have been a static image into one that is instead an expression of performative time.

Matsutani was a key member of the influential Post War Japanese Gutai Art Association’s second generation. Following their disbandment in 1972, Mastusani continued his radical experimentation into the properties of unconventional art materials and tools, working with vinyl glue, graphite, fans, his own breath and physical body to create work that stretches the limits of the art making process. Playing with notions of time and the movement of our bodies through it, and engaging with themes of the eternal and the infinite, Matsutani merges material, hue, and movement to create work that reflects the present moment and the reverberating forces and unceasing currents from which life itself flows.

Takesada Matsutani (b. 1937, Osaka, Japan) lives and works between Japan and France. His works can be found in the collections of the Centre Pompidou; the National Museum of Modern Art, Tokyo; and the Victoria & Albert Museum, amongst others. Matsutani is the recipient of Purchase Award, 6th European Print Biennial Mulhouse, France (1984); Purchase Award, 5th Miedzynarodowe Biennial of Printmaking Cracow, Poland (1974); and Special Edition Purchase Award, 1st CCAC World Print Competition ’73’ Museum of Art, San Francisco (1973). Matsutani has recently been the subject of a major retrospective spanning 60 years of his career at the Centre Pompidou in Paris.

Takesada MatsutaniLot 9

Clouds Becoming Mountains2010

Cast cotton pulp with pigment linen pulp30.5 x 22.5 in (77.4 x 57cm)

Courtesy of the artistEstimated Value: $8,000

Critically acclaimed artist Arlene Shechet creates what the New York Times has called “some of the most imaginative American sculpture of the past 20 years, and some of the most radically personal”. In her experimental approach to ceramics Shechet plays with the expected limits of texture, color and gravity conjuring surprising tensions and unpredictable relationships while still maintaining a formal equilibrium.

This work is part of the Here and There series of multidimensional cast-paper works that blur the line between drawing and sculpture, created by pouring liquid pulp into molds that each reproduce the topography of a single moment on the surface of turbulent waters. Similar to working with clay where surface and form become one, in these works color and form are fused to create a single moment of physicality.

Arlene Shechet (b. 1951, New York) lives and works in NYC and the Hudson Valley. Shechet’s works include historical museum installations for the Frick Collection and Phillips Collection, and a monumental 2019 public sculpture project for Madison Square Park. Her work is held in many distinguished public collections including the Brooklyn Museum, New York; CCS Bard Hessel Museum, Annandale-on-Hudson, New York; The Jewish Museum, New York; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; National Gallery of Art, Washington, D.C.; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York, amongst others.

Arlene ShechetLot 10

36.5 / Bay of All Saints 2019

Diptych: 2 photographs from 6th work in series, 36.5 / A Durational Performance with the Sea Each Photograph: 12 x 18 in (30.4 x 45.7 cm)

Courtesy of the artistEdition: AP 1 of 2


Sarah Cameron Sunde is an interdisciplinary artist, working at the intersection of performance, video, and public art. She works with scale and duration in order to investigate deep time and our human relationship to our environment. Her current practice is part of an emerging field of art that is made on, in, and with bodies of water in response to ecological change.

36.5 / A Durational Performance with the Sea is a series of nine durational performance and video works created over eight years in locations across the world that are threatened by rising sea levels. The work began in 2013, in response to Hurricane Sandy, through the simple, poetic and personal act of Sunde standing in water for 12 hrs 48 mins while the tide rose and fell over the artist’s body. It has since grown into a large-scale series of participatory performances and durational video works involving hundreds of people in communities around the world. Through this confrontation and communion with the ocean, the artist embraces time as a medium to communicate individual and collective vulnerability and resilience. 36.5 / Bay of All Saints is a photographic diptych that captures two moments, approximately six hours apart, during Sunde’s performance in the waters of Solar do Unhão, Salvador, Brazil on April 2, 2019.

Sarah Cameron Sunde (b. 1977) lives and works in New York. She holds an M.F.A. in Digital and Interdisciplinary Art Practice from The City College of New York (2016). Her solo exhibitions include Georgia Museum of Art, GA (2020), Te Uru Waitākere Contemporary Gallery, New Zealand (2020), Fort Jesus Museum, Kenya (2019), Museu de Arte Moderna, Brazil (2019), Britto Arts Trust, Bangladesh (2017), and Oude Kerk, the Netherlands (2015). Group shows and performances include Scottsdale Museum of Contemporary Art, AZ (2019), Baryshnikov Art Center (2018), and Watermill Center (2104). She is the recipient of the MAP Fund Grant (2019), Princess Grace Foundation Awards (2018, 2005) and Amsterdam Vonds voor de Kunst with TAAK (2015).

Sarah Cameron Sunde was part of LMCC’s Workspace 2016 - 2017 artist residency program and has received LMCC's Creative Engagement 2017 and UMEZ Arts Engagement 2018 and 2020 grants.

Sarah Cameron SundeLot 11

Tla XIII 2019

Brass, stone.12 x 12 x 2.75 in (30.4 x 30.4 x 7 cm)


For the past several years, Claudia Peña Salinas has been researching Tlalo and Chalchiuhtlicue, the male and female Aztec deities of rain and fertility, in an ongoing body of work composed of sculpture, images, installation, and video. Her practice is centered on visits to Mexico, where she was born and raised, and through the process of travel, documentation, research and collection of ephemera, Peña Salinas constructs a poetic narrative that connects contemporary present with ancestral heritage creating work which is both personal and political.

In this elegant work, with extraordinary economy of means, Peña Salinas collides time and systems of thought, grounding the contemporary minimalist form of a brass square with a rock that has been created through time beyond human perception. These two elements come together in mutual support and balance, a poetic spatial markation.

Claudia Peña Salinas (b. 1975, Montemorelos, Mexico) lives and works in New York and Mexico. She earned her M.F.A. from Hunter College, New York (2009) and B.F.A. from the Art Institute of Chicago (1999). Her solo exhibitions include Field Station , MSU BROAD Museum, Lansing, MI (2018); Tlalotlicuetlan , Embajada, San Juan, PR (2017); Birdie , GoldRush Fine Art, Skowhegan, ME (2012); Anaranja, Forever & Today , New York, NY (2012); and The Fool and The Fishes , Heliopolis, Brooklyn, NY (2011). She is a recipient of the Jacob K. Javits Fellowship. She was included in the formative Latinx group exhibition at The Whitney Museum, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art and will be included in an upcoming group show at the High Line.

Claudia Peña Salinas was part of LMCC’s Process Space 2016 artist residency program.

Claudia Peña SalinasLot 12

UntitledYear2020

Adobe, graphite, pigment, string, jute20 x 16 in (50.8 x 40.6 cm)

Courtesy the artist and Casey Kaplan, New YorkEstimated value: $18,000

N. Dash’s work spans painting, sculpture, drawing, and photography, and employs both natural and manmade materials. The artist’s principal interests lie in recording the sensory and informational capacities of touch and revealing typically unobserved conduits of energy: ecological, architectural, and corporeal. The works unfold through what Dash terms“bifocal” approach, where two minds – under the influence of physical and extra-senasory influences—are communing visions both nearby and remote.

This work offers a unique opportunity to acquire a gem by N. Dash that embodies the artist’s unique visual and material language. Since a revelatory experience in an adobe (earth) building in the New Mexican desert, N. Dash has been working with adobe as a foundational material. Here we see an adobe substrate covered with subtly reflective graphite and diagonal lines of embedded string. These seemingly simple elements exist together in a complex interface. The minimalist restraint implied by the form and color is subverted by the natural topography of the adobe surface that creates a subtle map-like network of ridges and puckers across the surface, and the dramatic connection of space through the incised channels. With quiet vigor and just-visible traces of haptic labor, the work speaks to unseen forces of energy and systems of communication - intuitive, preverbal and visceral.

N. Dash (b. 1980) lives and works in New York and New Mexico. She has mounted additional solo exhibitions at: Fondazione Giuliani, Rome; Hammer Museum, Los Angeles; White Flag Projects, St. Louis; Casey Kaplan, New York; Zeno X Gallery, Antwerp; and Galerie Mehdi Chouakri, Berlin. Selected group exhibitions include: San Francisco Museum of Modern Art; Dallas Museum of Art; The Flag Art Foundation, New York; Sammlung Goetz, Munich; Birmingham Museum of Art; Fowler Museum at UCLA, Los Angeles; Jewish Museum, New York; MAXXI Museum, Rome; and Palazzo Strozzi, Florence. Dash’s work is included in the public collections of major institutions such as: Art Gallery of New South Wales, Sydney; Dallas Museum of Art; Solomon R. Guggenheim Museum, New York; Hammer Museum, Los Angeles; Museum of Modern Art, New York; Sammlung Goetz, Munich; Stedelijk Museum voor Actuele Kunst, Gent; and Whitney Museum of American Art, New York.

N. DashLot 13

Hope AthertonLot 14

Untitled 2020

Gouache and acrylic on canvas11 x 14 in (28 x 35.5 cm)Courtesy of the artist


This compelling work on canvas by Hope Atherton commands an intensity of focus from the viewer. On the surface, color and form come together in an expression of confidence, each shade jostling for visibility. The layers of wash create pools of depth that hold the gaze, while the surrounding light encourages a fluidity of visual movement. In concert these variations create a sense of reverberating energy that disrupts the foundational linear abstract formality of the work, and imbues it with a mystical and supernatural presence.

Hope Atherton (b. 1974, Virginia) received a B.F.A. from Rhode Island School of Designin Providence (1997). Her solo exhibitions were held at Sant’ Andrea de Scaphis - Gavin Brown’s Enterprise, Rome (2018); Bortolami, New York (2008 & 2006); Patrick Painter Inc., Santa Monica (2007 & 2004); Galleria Gian Enzo Sperone, Rome (2002); and White Columns, New York (2001). Hope Atherton has participated in several group exhibitions, including at Marc Selwyn Fine Art, Los Angeles, curated by Clarissa Dalrymple (2013), One day at a time, at Peres Projects, Berlin, Germany (2012), American Bricolage, at Sperone Westwater, New York (2000). In 2005 she participated in, "Greater New York" at P.S.1 Contemporary Art Center, Long Island City.

Norway2019

Archival Pigment Print24 x 20 in (61 x 51 cm)Courtesy of the artist


French photographer Brigitte Lacombe is known for her influential and revelatory portraiture. For four decades she has created iconic and intimate photographs of many of the world’s most celebrated artists, actors, politicians, and intellectuals, finding a place as one of the most important observers and recorders over the past 40 years. In this majestic landscape of a Norweigan fjord, Lacombe captures the same natural glamour and magnetism that she is so well known for in her portraits. With great resonance, this image reminds us not only how extraordinarily beautiful the world is, but also provides promise of travel, freedom and enjoyment of places that seem so distant at the moment.

Brigitte Lacombe (b. 1950, Alès, France) lives and works in New York. Her work has been exhibited at PHILLIPS Galleries, Sotheby’s Gallery London, Qatar Museums, Shanghai Center of Photography, The Museum of the Moving Image NY, Paris Cinematheque, and Berlin’s Deutsche Kinemathek. She received the Eisenstaedt Award for Travel Photography (2000), the Lifetime Achievement Award for Photography (Art Directors Club Hall of Fame, 2010), and the Lucie Award for Lifetime Achievement in Travel & Portraiture (2012).

Brigitte LacombeLot 15

Mother Sky 2010

digital c-print, framedFramed dimensions: 29 x 36 in (73.6 x 91.4cm)

Edition 2 of 5, with 1 artist proof Courtesy the artist and Jack Shainman Gallery, New York.


Richard Mosse is a conceptual photographer whose mesmerizing and unsettling works capture the beauty and tragedy of war, destruction, and migration. His I nfra series, of which this work is part, depicts the ongoing conflicts in the Democratic Republic of Congo and has become his most iconic work to date. To create this series, Mosse used Kodak Aerochrome film, a discontinued reconnaissance infrared film employed by the US army during the Vietnam War. The film registers chlorophyll in live vegetation rendering it in surreal pinks and reds, while simultaneously exposing any pockets of camouflage that would otherwise be unseen to the naked eye. By bringing this photographic technology and history to the DRC, Mosse directly confronted the opacity of Congo’s war, visualising the hidden battlefields that extend across the country, along with the humanitarian crisis that accompanies the conflict.

Mother Sky was taken from an Mi-9 helicopter operated by the UN. It overlooks Lake Kivu, one of the world's only “exploding lakes”; the city of Goma; the active volcano Mt. Nyiragongo that has erupted at least thirty-four times since 1882; and the Congolese border with Rwanda. The titles of Mosse’s photographs often allude to pop songs by artists as diverse as Leonard Cohen (First We Take Manhattan) and The Pixies (Wave of Mutilation). The present photograph, titled Mother Sky borrowed from Can, a German psychedelic electronic music band formed in the late 1960s, a pioneer of German ‘krautrock’ scene.

Richard Mosse (b. 1980) lives and works in New York. Recent solo exhibitions include San Francisco Museum of Modern Art (2019), National Gallery of Art, Washington DC (2019), the Barbican Art Gallery, London (2017) and Louisiana Museum of Modern Art (2015). His work has been featured in recent group exhibitions at institutions that include ICA Boston; National Gallery of Victoria, Melbourne; Akademie der Künste, Berlin; National Museum of Modern and Contemporary Art, Seoul; Denver Art Museum; Hamburger Kunsthalle, Germany; Museum für Moderne Kunst, Frankfurt; and The Victoria and Albert Museum, London, among others. He was awarded the Prix Pictet, the Deutsche Börse Photography Prize, a Guggenheim Fellowship, a Shifting Foundation Grant, the Yale Poynter Fellowship in Journalism, the Frankfurt Biennial B3 Award, a grant from Pulitzer Center on Crisis Reporting and has received a Leonore Annenberg Fellowship in the Performing and Visual Arts. Mosse represented Ireland at the 55th Venice Art Biennale. He has published six books. His latest monograph, The Castle , was listed as one of the New York Times Magazine top ten photobooks of 2018. Mosse earned an MFA in Photography from Yale University, a PG Dip in Fine Art from Goldsmiths, London, an MRes in Cultural Studies from the London Consortium, and a First-Class BA Honours degree in English Literature from King’s College London.

Richard MosseLot 16

The Return of History 1 2019

Archival C-printFramed dimensions: 36 x 50 x 2 in (91.4 x 127 cm)



The Return of History , a series of large format prints that adopt the visual language of an archival display. Each interrogates the ways in which administrative systems, and the institutions they are a part of, are connected with the creation of specific historical narratives, and how these narratives shape our relationship to the past, present, and future. Central to The Return of History 1 are 8 images appropriated from a trade catalogue of German office furniture manufacturer Ensslin. The images feature a series of executive office desks, likely produced in the 1970s and 80s. Their names - such as Euroboss, Euroroy, or Euroflex - reflect the optimism for the European project, as well as towards a Eurocentric ideology that is built on a tradition of Western thought. By juxtaposing these images with excerpts from newspaper articles and other archival material that depict the current reality of Europe in the throes of Brexit, the surge in populism, and Euroskepticism in the wake of the migrant crisis, Erbacher aims to overturn their pervasive Eurocentrism, and question the constructed and ideological nature of truth as presented by an archive.

Sandra Erbacher (b. 1978, Germany) lives and works in New Jersey and New York. She earned her M.F.A from the University of Wisconsin-Madison (2014) and her B.F.A. from Camberwell Collegeof Art, London (2009). Erbacher is the recipient of the 2014 Chazen Prize to an OutstandingMFA Student and the 2013 Blink Grant for Public Art. Her most recent exhibitions include How toDisappear, mh PROJECT, NYC (2020); Double Stroke, Office Space 2, New Brunswick, NJ (2019); andGeometry of Oppression, Space, Portland, ME (2018).

Sandra Erbacher was part of LMCC’s Workspace 2017 - 2018 artist residency program.

Sandra ErbacherLot 17

Untitled (Ralph Lauren)1996-2012

Image dimensions: 40 x 30 x 1.58 in (101 x 76.2 cm) Framed dimensions: 44 x 33 x 2 in (111.8 x 83.8 cm)



Josephine Meckseper’s work, which encompasses film, photography, collage and installations, conflates the aesthetic language of Modernism with the formal languages of industrial display and advertising. Through the representation of common signifiers including political symbols, everyday consumer goods and objects of art, she lends these otherwise commonplace products and images a critical framework.

This work is part of a series of four collages that originated in 1996 and was completed in 2012. Inspired by the legacy of Dadaist cut-up technique, Meckseper juxtaposes Ralph Lauren magazine advertisements with splashes of blue color. By turning the collage on its side and rephotographing it, she adds a second layer of defamiliarization and challenges the conventional meaning of recognizable cultural imagery as well as the systems of circulation and display through which they acquire significance.

Josephine Meckseper (b.1964) lives and works in New York. Her works have been exhibited in numerous biennials and museum shows, including solo-exhibitions at: Frac des Pays de la Loire (2019), MOSTYN Contemporary Art Gallery, Wales (2018); Neuer Aachener Kunstverein, Aachen, Germany (2014); The Parrish Art Museum, Water Mill, NY (2013); Kunsthalle Münster, Germany (2009); Migros Museum für Gegenwartskunst, Zurich (2009); and Museum of Modern Art, New York (2008). Her works are in the permanent collections including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, New York, The Museum of Modern Art, New York, the Metropolitan Museum, New York and the Hammer Museum, Los Angeles.

Josephine MeckseperLot 18

Tropics of Love 2014

Chinese ink on inkjet print on paperFramed dimensions: 16.5 x 23.8 in (41.9 x 60.3 cm)

Courtesy of Camille Henrot StudioEstimated Value: $14,000

Camille Henrot (b. 1978, Paris, France) lives and works in New York. Her solo exhibitions have been held at the New Museum, New York; Schinkel Pavilion, Berlin; New Orleans Museum of Art; Kunsthalle Wien; and Jeu de Paume, Paris. A 2013 fellowship at the Smithsonian Institute resulted in her film Grosse Fatigue, for which she was awarded the Silver Lion at the Venice Biennale (2013). She also participated in the Berlin (2016) and Sydney (2016) Biennials and the Lyon Biennial (2015). Henrot is the recipient of the Nam June Paik Award (2014) and the Edvard Munch Award (2015).

Camille HenrotLot 19

Lone Pine Fire 2017

archival pigment print30 x 38.5 in (76 x 98 cm)



Kevin Cooley uses photography, video, and installation, as vehicles through which to meditate on our evolving relationship with nature. Centered around a phenomenological, systems-based inquiry into humanity’s contemporary interaction with the five classical elements – earth, air, fire, water and aether – his work examines the forces that surround us but remain beyond our control, seeking to address how these elements affect our perceptions and experience of everyday life. Personal experience, historical context and direct intervention provide the underlying conceptual framework of his practice.

Kevin Cooley (b. 1975, Los Angeles) lives and works in Los Angeles and Brooklyn. His work is included in prominent public collections, including the Guggenheim Museum, Los Angeles County Museum of Art, and The Museum of Fine Arts, Houston. He has presented solo exhibitions at the Catharine Clark Gallery, Disjecta Contemporary Art Center, The Museum of Photographic Arts, The Nevada Museum of Art, Pierogi, Ryan / Lee Gallery, and more. Cooley is the recipient of the Foundation for Contemporary Art Grant, the Experimental Television Center Grant, and Aaron Siskind Foundation Grant.

Kevin Cooley was part of LMCC’s Workspace 2006 - 2007 artist residency program.

Kevin CooleyLot 20

Rent 2018

Direct to substrate double sided print, acrylic on vacuumed formed PETG in custom frame Framed dimensions: 19 x 19.25 x 1 in (48 x 49 cm)

Courtesy The Artist and Lyles. & King, NYEstimated Value: $3,500

Ethan Greenbaum is a New York based artist whose sculptural prints, paintings and installations focus on capturing unseen fragments of the urban landscape and representing these moments in a resolutely hybrid manner. Using a variety of emerging and traditional media, sites and materials are recast through displacements in tactility, scale or cropping so as to refuse the standard distinctions between photography, sculpture and painting.

Rent , started as an iPhone photograph manipulated in Photoshop to push the colors to their acidic registers. The resulting image was then printed on sheets of plastic using a high-tech flatbed printer, and then melted into low-reliefs by a vacuum-forming machine in a shop that fabricates sets for television. These low-reliefs are made from a motley collection of materials that add extra textural and formal flourishes to the work and play with how the eye registers the image, color and form.

Ethan Greenbaum received an M.F.A. in Painting from Yale School of Art. His recent solo exhibitions include Tracers, Galerie Pact, Paris, France (2018); First Surface, Lyles & King, New York, NY (2018); Cardboard Landscapes, Super Dakota, Brussels, Belgium (2017); and Cold Frame, Galerie Pact, Paris, France (2016). Greenbaum has received numerous awards, including the Queens Art Fund New Work Grant, Queens, NY (2020); CNAP Book Publishing Grant, Paris, France (2019); and Socrates EAF Fellowship, Long Island City, NY (2011).

Ethan Greenbaum was part of LMCC’s Workspace 2013 - 2014 artist residency program.

Ethan GreenbaumLot 21

Nocturne2019

Hand-coloured aquatint with photogravure, spitbite, drypoint and burnishing on Hahnemuhle Copperplate Bright White 300 gsm Paper. Each print is uniquely hand painted with water color

26.75 x 31.5 in (70.5 x 80 cm)This work is unique

Courtesy of the artist and Cristea Roberts Gallery, LondonEstimated value: $8,000

Ali BanisadrLot 22

This work is included in the collection of The Met, Albright Knox.

Ali Banisadr’s densely populated paintings are influenced by the artist’s perception of sound as inextricably linked to color and form. Drawing on childhood experiences of the Iran-Iraq War in his native Tehran (where explosions and other aural disturbances were commonplace), as well as his extant synesthesia, Banisadr works painstakingly and intuitively to build complex compositions that exude a vitality at once turbulent and celebratory. Banisadr draws freely from an encyclopedic knowledge of the history of painting to create a distinctive visual language. Whilst his gestural brushstrokes recall the unbridled energy of de Kooning’s Abstract Expressionism, the work’s intensity of mood and dreamlike detail evokes mid-20th-century surrealism in the vein of Francis Bacon. Much like Old Masters Bruegel and Bosch, whom Banisadr cites as influences, the artist’s work conceives of a concurrent, existentially absurd flurry of activity as seen from above. As the lower portions of the picture planes brim with carnivalesque energy, the upper halves achieve balance in their calming sense of distance, functioning like the flattened, scenic backdrop of a theatre stage.

Ali Banisadr (b. 1976, Tehran, Iran) lives and works in Brooklyn. He earned his B.F.A. from the School of Visual Arts (2005) and M.F.A. from the New York Academy of Art (2007). Banisadr’s paintings were featured in Love Me, Love Me Not at the 2013 Venice Biennale. Among public collections owning his work are the Albright-Knox Art Gallery, Buffalo; The British Museum; the Centre Pompidou; Francois Pinault Foundation, Venice; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; the Museum of Contemporary Art, Los Angeles; and Museum der Moderne, Salzburg.

Cocoa 2016

Cocoa, Jade adhesive on Arches paper 21.5 x 21.5 in (54.6 x 54.6cm)

Courtesy of the artist and Paula Cooper Gallery Estimated Value: $8,000

Cocoa is one of Webster’s rare substance drawings that bring her fascination with natural material to an intimate scale. As is the case with all of her work, they highlight how unexpected, beautiful and affecting in space the very simplest of natural substances can be. The texture and smell of the cocoa affords this work a great delicacy and warmth, even in its most reduced and distilled form. It softens the harshness that is often associated with minimal expression, and instead creates space for the substance to express itself at its fullest. For the artist, these drawings are the presentation of material rather than image, the whole paper becoming an object to see, feel and smell. To date, these works have always been square in shape.

Meg Webster’s work is grounded in an unwavering interest in natural cycles and how a nuanced combination of form, material and site can come together to create diversely charged ecological systems. Since the 1980s, Webster’s visual language of rational geometric forms, from spirals to cones and circles, most often spoken through natural matter such as water, soil, moss, salt and twigs has situated her in close conversation with both Minimalism and Land Art.

Meg Webster (b. 1944, San Francisco) received an M.F.A. from Yale University (1983) where she was taught by important contemporary artists, such as Vito Acconci, Donald Judd, and Richard Serra. She is closely affiliated with Post-Minimalism and the Land Art movement, and her work is featured in many permanent collections throughout the world, including The Panza Collection, at the Guggenheim Museum and the Walker Art Center. Webster has also created public, site-specific works for the Hudson River Park, Stanford University and other sites worldwide.

Meg WebsterLot 23

Shores 42016

Dye sublimation print on aluminum32 x 18in (81 x 45.7cm)


Leah Beeferman works with landscape through digital image-making, photography, text and video. Her work considers relationships among nature, abstraction, perception, contemporary physics, and the digital, with a curiosity about what is “real” and what is observed. By layering her photographic prints with digital drawing, she mediates and augments the landscapes, moving them from “objective” representations to work imbued with greater and more complex subjectivity. Shores 4 asks the viewer to read the surface for information, and it is precisely this surface to body interface that so uniquely plays out across Beeferman's work as a whole. We are not given access into the work, but rather allowed only to take in referential fragments. In this way Beeferman's work speaks directly to our contemporary reality where information is both constructed and received through a screen of layered information rather than experienced as a whole in natural time and space.

Leah Beeferman (b. 1982) lives and works in Brooklyn, New York. Beeferman was most recently included in two-person and group exhibitions at The Fiskars Village Biennale, Finland (2019); Galaria Nara Roesler, São Paolo (2018); and Fridman Gallery, New York (2016). Her most recent solo exhibitions include Sorbus, Helsinki (2017) and Rawson Projects, New York (2015 & 2016). Beeferman was also the recipient of a Fulbright Scholar grant to Finland (2016-17). She earned a B.A. from Brown University and an M.F.A. from Virginia Commonwealth University.

Leah Beeferman was part of LMCC’s Workspace 2010 - 2011 artist residency program.

Leah BeefermanLot 24

Crossing 2020

Ink on paper30 x 22.5 in (76 x 57 cm)


Leah Raintree’s practice addresses our relationship to time, scale, and ecology through process-based interactions with sites and materials, with projects arising from a hybrid of research and physical engagement in place. She works across sculpture, drawing, and photography to distill correlations between human and geologic scales, capturing points of interaction within natural and man-made phenomena. Her work extends from a long-standing drawing practice coupled with sculpture and performative action, whether an individual makes a mark, a collective makes a mark, or a mark is found.

Crossing is from a series of drawings by Leah Raintree that are inspired by the New York Harbor, which has been ongoing since Hurricane Sandy. Both observational and mimetic, these works translate the changing conditions of the harbor waters, where the city meets the sea. Crossing was produced during Raintree’s artist residency through LMCC’s Arts Center at Governors Island.

Leah Raintree (b. 1979) lives and works in New York City. Raintree holds a B.F.A. from Virginia Commonwealth University (2003) and an M.F.A. from Parsons, the New School for Design (2012). Her recent solo exhibitions have been held at Reynolds Gallery, Richmond, VA (2020) and The Noguchi Museum, Queens, NY (2016-17). Other exhibitions include How to Flatten A Mountain , at Rathfarnham Castle, Dublin; Pier 54 with High Line Art, NYC; an other land , and in the other, our own at Prosjektrom Normanns, Norway; and EAF15: The Emerging Artist Fellowship Exhibition at Socrates Sculpture Park, NY.

Leah Raintree was part of LMCC’s Workspace 2012 - 2013, Process Space 2014 and is currently part of the Arts Center at Governors Island 2019-2020 artist residency program.

Leah RaintreeLot 25

Uncertainty Labs Portfolio: Attempt No. 1 2019/2020

Custom silver foil portfolio with 75 archival pigment prints and digital advertisementsCloth portfolio box with silver-foil stamp: 13 x 9.75 x 2.5 in (33 x 24.8 x 6.4 cm)

Archival pigment prints (unframed): 11 x 8.5 in (28 x 21.5 cm)x2 Archival pigment prints (framed): 14.75 x 12.25 in (37.5 x 31 cm)



Kenneth Pietrobono is a conceptual artist and researcher in New York. His ongoing work, Uncertainty Labs, is an artist-run think tank researching the failure of knowledge to overcome the misconstructions and contradictions that empower governance beyond sovereign regulation—even when we already know.

The custom clamshell portfolio includes all 75 archival pigment prints which constitute Uncertainty Labs: Attempt No. 1, two years of cumulative works.

Each print offers a proposed abstraction to index the subjective abilities that limit remedy and political alternative. The editioned portfolio comes with two framed prints (pictured) and supports a $500 Google Ads campaign which circulates selected text works in the public sphere as digital banner advertisements, linking to www.uncertaintylabs.org and performing the subjective ability to shape and circulate social objects which Uncertainty Labs investigates.

Kenneth Pietrobono (b. 1982, Miami) lives and works in New York City. Pietrobono was included in Occupy Museums, Debtfair at the Whitney Biennial 2017, Whitney Museum of American Art, New York. Pietrobono’s recent solo exhibitions were held at Front Gallery, New Orleans, NY (2014); NYC Parks Department, NY (2013); and Littlefield Gallery, Brooklyn, NY (2010). Pietrobono is a recipient of the Emerging Artist Residency, Socrates Sculpture Park, New York City, 2013/2014. Pietrobono is also an appointed member of Citizens’ Advisory Committee, NYC Cultural Plan, 2016-present.

Kenneth Pietrobono was part of LMCC’s Workspace 2018 - 2019 artist residency program.

Kenneth PietrobonoLot 26

http://www.uncertaintylabs.org

Elia AlbaLot 27

The Orisha (Juana Valdes) 2014 created; printed 2017

Archival pigment print on photo rag barytaImage dimensions: 42 x 30 in (106.7 x 76.2 cm)

Framed dimensions: 44 x 32 in (111.76 x 58.4 cm)Edition 1 of 5

Courtesy of the artistEstimated value: $6,000

Elia Alba works in photography, sculpture, video and food. Her practice is concerned with fluid identities and the collective community. Through portraiture, whether photography or sculpture, her goal is to create new narratives with regional and global ideologies that come together to form new ones.

This work is part of The Supper Club , an acclaimed multi-faceted art project that brings together artists, scholars and performers of diasporic cultures, through photography, food and dialogue to examine race and culture in the U.S. Informed by the lack of diversity the artist saw in publications, Alba set out to photograph contemporary visual artists of color in widely varied locations and forms of dress in order to capture their unique artistic voices, make them an embodiment of their art and transform their identities into iconic, archetypal portraits. Each artist was given a moniker, such as “The Orisha" (Juana Valdes)" in order to identify them within the group and offer a doorway into their individual artistic practice. These experimental portraits combine the visual vocabulary of contemporary fashion photography with pop art and history, as well as underscore the interplay among persona, politics, and aesthetics in much of contemporary art.

Elia Alba (b. 1962, Brooklyn, NY) has exhibited throughout the United States and abroad, at venues including The Rhode Island School of Design Museum; Stedelijk Museum, Amsterdam; The Science Museum, London; ITAU Cultural Institute, São Paulo; National Museum of Art, Reina Sofía, Madrid; and the 10th Havana Biennial. She is the recipient of the Anonymous Was A Woman Award (2019); New York Foundation for the Arts Grant, Crafts (2002) and Photography (2008); Pollock-Krasner Foundation Grant (2002); and Joan Mitchell Foundation Grant (2002 & 2008).Elia Alba was part of LMCC’s Workspace 2009 - 2010 and Process Space 2016 artist residency programs. Her art project “The Supper Club” was part of LMCC’s 2019 River To River Festival.

Mirror Study (_2140475)2018

archival pigment print32 x 24 in (81 x 60.9 cm)



Paul Mpagi Sepuya is an artist working in photography whose projects weave together histories and possibilities of portraiture, queer and homoerotic networks of production and collaboration, and the material and conceptual potential of blackness at the heart of the medium. In Mirror Study (_2140475) Sepuya creates a complex interplay of image and space using a combination of draped fabric, cropped framing and layered image to create both a screen and a stage, the artifice of which he then ruptures by showing the set up in the studio as well as the foot of a person almost completely hidden behind the screen. As with all of this work, the image is deliberately provocative, carefully designed to create a feeling of longing within the viewer to see what is concealed. Through this active looking that Sepuya demands, the viewer becomes a critical creative force in the work – implicated and desirous.

Paul Mpagi Sepuya (b. 1982, San Bernardino, CA) lives and works in Los Angeles. He earned an M.F.A. in Photography from UCLA (2016). Sepuya’s work has been exhibited at The Museum of Modern Art, New York; the Whitney Museum of American Art; the Guggenheim Museum; the Studio Museum in Harlem; The Getty Museum; and the Museum of Contemporary Art, Los Angeles amongst others. Sepuya is the recipient of The Rema Hort Mann Foundation Grant for Emerging Los Angeles Artists (2017) and finalist for the Paris Photo Los Angeles inaugural Introducing! Young California Photographer Award (2015).

Paul Mpagi Sepuya was part of LMCC’s Workspace 2009 - 2010 artist residency program.

Paul Mpagi SepuyaLot 28

Nabalus racemosa, Forbells, Brooklyn, 1891, 2019 2019

Watercolor and graphite on paper, inkjet print 20 x 14 in (51 x 35.5 cm)Courtesy of the artist


Michael Wang uses systems that operate on a global scale as media for art: climate change, species distribution, resource allocation and the global economy. This botanical drawing is part of the larger project Extinct in the Wild , that engages species that no longer exist in nature but persist under human care, and depicts the pressed remains of last collected specimens of plant species once known from New York City. Drawn from the collections of three herbaria, the one-to-one scale replications omit any taxonomic information and depict only plant matter. Below these are photographs taken by Wang of the species’ last known location as it appears today. Together Wang’s watercolors and photographs sketch stories of ecological disappearance.

Michael Wang (b. 1981, Olney, Maryland) lives and works in New York. His recent solo exhibitions include World Trade , Foxy Production, NY (2017); Extinct in the Wild , Fondazione Prada, Milan, Italy (2017); Terroir , Foxy Production, New York (2015); and RIVALS , Andrea Rosen, NY (2014-15). His work was also included in Art Basel, Basel, Switzerland (2016). Michael is a recipient of Joan Mitchell Foundation Painters & Sculptors Grant, New York City (2017) and the Curate Award, Fondazione Prada and the Qatar Museums Authority (2014).

Michael Wang’s Extinct in New York was one of the two inaugural exhibitions at the Arts Center at Governors Island in 2019. He is also part of LMCC’s 2019 Arts Center at Governors Island artist residency program.

Michael WangLot 29

Untitled2016

Peruvian cacao on paper9.5 x 7.5 in (24 x 19 cm)

Courtesy of William Cordova and Sikkema Jenkins & Co.Estimated Value: $5,000

William Cordova is interested in how objects and perception change and adapt within time and space. His work integrates the cultural nuances and experience from the various environments from his personal history, layering aspects of Afro-Peruvian cosmology, Andean architecture, and metaphysics into his work to create complex and unexpected relationships. Utilizing a variety of materials, including found and discarded objects, feathers, collage, and other reclaimed detritus, Cordova’s multimedia practice presents coded statements on contemporary social systems and economies within the personal history of objects, challenging the functionality of art as a purely aesthetic pursuit.

William Cordova (b. 1969, Lima, Peru) lives and works fluidly between New York, Miami, and Peru. He earned his B.F.A. from The School of the Art Institute of Chicago (1996) and M.F.A. from Yale University (2004). Recent solo exhibitions of Codova’s work include Ceiba: Reconsidering Ephemeral Spaces at Davidson College, Davidson, NC (2016); Yawar Mallku: Metaphysics of Time and Space at 80M2, Lima, Peru; and Swing/SPACE/miami: William Cordova – Ceiba: Reconsidering Ephemeral Spaces, MDC Museum of Art + Design at Miami Dade College, Miami, FL (2014).

William Cordova was part of LMCC’s Workspace 2005 artist residency program.

William CordovaLot 30

Robert Rauschenberg in the kitchen of his Lafayette Street home and studio, New York, 1968, 1968. Photo: Shunk-Kender © J. Paul Getty Trust.Photograph Collection.

Robert Rauschenberg Foundation Archives, New York

Private Tour of The Robert Rauschenberg Foundationwith Executive Director Kathy Helbreich + Curator

Date TBD following auction 10 Guests

If you ever wondered how one of this country’s most successful artists lived now is your moment to find out! This lot offers a singular opportunity for 10 people to tour The Robert Rauschenberg Foundation NY with renowned Executive Director Kathy Halbreich and enjoy the works on view while toasting the artist’s convivial spirit. The Foundation is housed in Bob’s former home in Lower Manhattan, providing the buyer with access to the extraordinary private spaces, including his studio, of one of America's most influential artists. Following the close of the auction and once the Foundation returns to hosting visitors, the winning bidder will schedule the date that works best for this intimate gathering with Halbreich.

Kathy Halbreich has been the Executive Director of the Robert Rauschenberg Foundation in New York from 2017. From February 2008 to 2017 she was Associate Director at The Museum of Modern Art, New York and from 1991 to 2008 Director of the Walker Art Center, Minneapolis.

The Robert Rauschenberg Foundation fosters the legacy of Rauschenberg’s life and work, supporting artists, initiatives, and institutions that embody the same innovative, inclusive, and multidisciplinary approach that Rauschenberg exemplified in both his art and philanthropic endeavors. The Foundation primarily supports small to midsize arts and socially-engaged organizations that are contrarian and experimental, even courageous, in driving towards equity. In addition, the Foundation amplifies the creative life of artists and scholars across the disciplines through residencies, commissions, and accessible public platforms. Finally, the Foundation supports research, exhibitions, publications, academic partnerships and special projects across the globe that promote the legacy of Rauschenberg’s joyful, responsive, and irreverent approach to making work while living an empathetic and meaningful life.

Private Tour: The Robert Rauschenberg Foundation

Lot 31

“Je m’en fous 29”2011

Ink on paper21.6 x 29.5 (55 x 75 cm)


Agathe de Bailliencourt has two parallel artistic approaches that continuously feed each other. In her studio she works on canvas, paper or linen. Outdoors, she works directly onto urban space, architecture or nature. For her works on paper, she uses language and repetition. In the work selected for LMCC, the phrase "Je m'en fous" (I don't care), written with ink again and again, becomes a landscape, a re-definition of spatiality depicted through language.

Agathe de Bailliencourt (b. 1974, Paris) lives and works in Berlin. She graduated from École Boulle Paris in 1998. Her work has been exhibited internationally at museums and galleries, including Château de Ratilly, France (2018); Fondation d’entreprise Hermès, Singapore (2016); Fukuoka City Museum, Japan (2015); Blain Southern, London (2015); Marfa Contemporary, Texas (2014); Lu Magnus, New York (2010); French Embassy, Tokyo (2009); Shanghai Zendai Museum of Modern Art (2008); and Singapore Biennale (2006).

Agathe de Bailliencourt was part of LMCC’s Workspace 2011 - 2012 artist residency program.

Agathe de BailliencourtLot 32

Someone Tried to Lock Up Time (Everyone Had a Drone)2018

2 C-Prints from chemically-altered slides on Fujiflex Metallic material. 29.5 x 27.2 in (75 x 69 cm)

Edition 2 of 3 + 1APCourtesy of the artist


Basim Magdy uses classical and unconventional media, from spray paint and colored crayons, to chemically altered film stock, photographs and film footage to create work that exists as clues hovering between fact and fiction. His imagery is sourced from diverse events and ideas that span the past, present and future, resulting in timeless visuals that present the slick surface of advertising while channeling more sinister tropes of science fiction, factual relay from documentaries, and apocalyptic tones of biblical stories. His series Someone Tried to Lock Up Time speaks directly to Magdy’s delft ability to conflate medium and content, resulting in dreamlike messages that are simultaneously familiar but out of step with reality. There is an uneasy truth to these works that do not float away into one’s subconscious, but rather address the viewer directly, demanding fixed attention.

Basim Magdy (b. 1977, Assiut, Egypt) currently works in Geneva, Switzerland. Magdy’s recent solo exhibitions were held at MAAT Museum of Art, Architecture and Technology, Lisbon (2019); La Kunsthalle Mulhouse, Mulhouse, France (2019); South London Gallery, London (2018); the Museum of Contemporary Art, Chicago (2016); MAXXI National Museum of the 21st Century Arts, Rome (2016); Deutsche Bank Kunsthalle, Berlin (2016), and more. Group shows include the Museum of Modern Art, New York; New Museum Triennial, New York; Centre Pompidou; and the Istanbul Biennial.

Basim MagdyLot 33

Dario2014

Plastic bone, foam chop, acrylic paint, organic thread 5.9 x 11.8 x 5.1 in (15 x 30 x 13 cm)Courtesy of the artist and Perrotin


Gabriel Rico is a believer in matter, adherent to ontology with a methodically heuristic approach to making. He gathers seemingly disparate objects, accumulating layers of time, mining materials that point metaphorically to philosophical and scientific disciplines related to the natural order of existence and contemporary homo sapiens’ place within it. Through a process of material deconstruction and re-contextualization, he places emphasis on conceptual modes of experimentation in his sculptures. His installations ironically and poetically combine natural and unnatural forms, insisting that the viewer contemplate their asymmetry as well as how that reflects back on our own cultural flaws.

Dario depicts a bone and steak which are tied together with thread, creating a surreal re-imagining of the actual objects. Exaggerated to the point of caricature, these items have become part of Rico’s visual lexicon and are found repeated in his work, whether alone, or in conversation with other elements to resemble a surreal and unsolvable mathematical equation – steak to the power of X.

Gabriel Rico (b. 1980, Lago de Moreno, Mexico) lives and works in Guadalajara, Mexico. Rico was most recently a part of the Venice Biennale (2019), and his solo exhibitions have been held at numerous venues across the United States and internationally, including Galerie Perrotin, Seoul, KR (2019); the Aspen Art Museum, CO (2019); Galerie Perrotin, NYC (2017); The Power Station, Dallas (2017); ASU Art Museum, Tempe, AZ (2017); and Gyeonggi Creation Center, Ansan-do, South Korea (2016). He is the recipient of the Young Creators Annual fellowship PECDA, Jalisco, Mexico (2015).

Gabriel RicoLot 34

Wisdom BodyDigital print

Medium37.4 x 51.2 in (95 x 130 cm)

Courtesy of the artist and Absolut ArtEstimated value: $2,000

Ranging freely among formats from collage and video, to dance and performance, Rashaad Newsome addresses topics of sexuality and sexual identity, racial difference, and the power of imagery to convey power and status.

Explosions is the visualization of Newsome’s investigation into the female form, inspired by powerful Trans women, using the artist’s signature collage style of mining images from popular culture and reconfiguring them into new likenesses. For this work, the artist was unable to find what he needed from standard image libraries, and turned instead to lifestyle magazines that cater to girls in the “urban” modeling industry such as King magazine, Excel, Dons and Divas, and Black Lingerie. Newsome found these images - of, by and for women - a strong expression of post-feminism better suited to how he wanted to project his own voice.

Rashaad Newsome (b. 1979, New Orleans, Louisiana) lives and works in New York. His work has been exhibited throughout the world, at venues including the Studio Museum in Harlem; The National Museum of African American History and Culture, DC; the Whitney Museum of American Art; Brooklyn Museum; MoMAPS1, NYC; Museum of Modern Art, San Francisco; New Orleans Museum of Art, LA; the Centre Pompidou; The Garage Center for Contemporary Culture, Moscow; and MUSA, Vienna. His many honors and awards include MAP Fund Grant (2019), LACMA Art + Technology Lab Grant (2019), and BAVC MediaMaker Fellowship (2019), amongst others.

Rashaad Newsome was part of LMCC’s Workspace 2008 - 2009 artist residency programs.

Rashaad NewsomeLot 35

Sarah MichelsonLot 36

Painting Commission by Sarah MichelsonTo be created in 2020Acrylic on found wood


Sarah Michelson has a radical approach to how imagery of her work can be shared in the public realm, which is that she refuses to let it be shared at all. Following the auction, the artist will contact the buyer to share examples of her work and discuss a painting commission created specifically for the buyer.

“LMCC is a crucially generative and generous civic platform. LMCC is responsible for centrally supporting my work and the work of many other extremely furtive fertile artists over the long haul . My support of LMCC is heartfelt and serious and therefore this auctioned work is offered with active commitment to the well being of this unparalleled organization. I look forward to working with you on this commission - and don’t worry I am now a MacArthur fellow and in a museum collection so it’s probably a smart purchase!!! with love SM”

Sarah Michelson is a choreographer.

Since 2012, Michelson has participated in a number of LMCC residencies, and is currently part of LMCC’s Extended Life Dance Development program made possible in part by The Andrew W. Mellon Foundation. Michelson is a 2019 MacArthur ‘Genius’ grant winner.

Sarah Michelson was part of LMCC’s Swing Space 2008, Process Space 2012, and Extended Life 2019 - 2022 artist residency programs, and has also been presented as part of River To River Festival 2016 & 2019.

PAINTING COMMISSION

Untitled 2019

Archival pigment printImage dimensions: 31 x 25 in (78.8 x 63.5)

Framed dimensions: 33 x 27 x 2 in (83.8 x 68.6 x 5 cm)Edition 1 of 3


Elisabeth Smolarz uses photography, video, sculpture and drawing to investigate themes of consciousness and perception. This work is part of the ongoing community based project The Encyclopedia of Things that uses photography and storytelling to chronicle the lives of diverse individuals. Since 2014, Smolarz has collaborated with people in North America, Europe, the Middle East, and East Asia to make intimate, object-based portraits. Each participant selects meaningful personal items that are arranged for the camera in temporary shrine-like installations. After listening to the stories behind these treasures, Smolarz creates still-life portraits that embody the identities and personal narratives of their owners. The objects in the printed photographs are rendered at their actual sizes, inviting viewers to relate to them as real things and suggesting the presence of unseen individuals.

Elisabeth Smolarz (b. Poland) lives and works in Queens, New York. Her work is shown nationally and internationally, at venues including The Bronx Museum, New York; Eyebeam Art + Technology Center, New York; Galeria Aleksander Bruno, Poland; Baden Württembergischer Kunstverein, Germany; Reykjavik Photography Museum; Iceland; and the 3rd Moscow Biennale among others. Smolarz is the recipient of the National Endowment for the Arts grant and Institut für Auslandsbeziehungen Travel Grant. She has participated in artist residency programs in New Delhi, India, Rio de Janeiro, Brazil, Beijing, China, and more.

Elisabeth Smolarz was part of LMCC’s Swing Space 2013 artist residency program.

Elisabeth SmolarzLot 37

Pear2020

Acrylic on cut and collaged paper 6 x 6 in (15.2 x 15.2 cm)

Courtesy of the artist and Marinaro GalleryEstimated Value: $2,500

Quotidian objects are always the foundational elements for Iacono’s works – fruits, plants and curtains presented for renewed interests and curiosity. Through his cutout collage techniques, his images take on texture and physicality, which combined with flatness color and graphic line result in the object morphing between a recognizable form and a architectural visual space. This is the very essence of a still life, cropped and arrested in a moment.

Anthony Iacono (b. 1987, Nyack, NY) lives and works in New York. He received his B.F.A. from the School of Visual Arts, New York (2010) and M.F.A. from Virginia Commonwealth University, Richmond, Virginia (2017). His most recent solo exhibitions were held at The Approach, London, UK (2019); Marinaro, New York, NY (2018); and P.P.O.W. Gallery, New York, NY (2018 and 2015). Iacono is the recipient of Toby Devan Lewis Fellowship Award (2017).

Anthony Iacono was part of LMCC’s Workspace 2017 - 2018 artist residency program.

Anthony IaconoLot 38

Bathtub, Julian PA2019

Archival fiber inkjet print mounted on black sintra with a brace and cleat for hanging 18 x 22 x 2 in (45.7 x 55.9 cm)



Abu-Shaheen’s work is concerned with multi-cultural complexities as they relate to one's personal history and identity. Since 2008, Abu-Shaheen has been photographing her brother Jerry’s family for her ongoing series Julian. As a Lebanese-American, she is interested in using photography to understand her brother, a single father of two living on a farm in Pennsylvania, and his adopted lifestyle, that of a self-sufficient American homesteader.

Manal Abu-Shaheen (b. 1982, Beirut) is a Lebanese-American photographer who lives and works in Queens, NY. Abu-Shaheen holds an M.F.A in Photography from Yale School of Art and currently teaches at The City College of New York. Her recent solo exhibitions include Theater of Dreams, Bernstein Gallery, Princeton University, NJ (2018); Beta World City, LORD LUDD, Philadelphia, PA (2017); and Familiar Stranger, A.I.R. Gallery, Brooklyn, NY (2017). She is a recipient of the Aaron Siskind Foundation Individual Photographer’s Fellowship Grant (2017), Jerome Foundation Travel and Study Grant (2017), and A.I.R Gallery Fellowship (2016).

Manal Abu-Shaheen was part of LMCC’s Workspace 2016 - 2017 artist residency program.

Manal Abu-ShaheenLot 39

Irrfan Khan2020

watercolor on paper11 x 9 in (27.9 x 22.9 cm)


Rudy Shepherd’s work explores the nature of evil through the mediums of painting, drawing, sculpture and performance. This exploration involves investigations into the lives of criminals and victims of crime. He explores the complexity of these stories and the grey areas between innocence and guilt in a series of paintings and drawings of both the criminals and the victims, making no visual distinctions between the two.

One of many memorial portraits in the series, this painting portrays the late Irfan Ali Khan, a Bollywood mainstay best known to English speaking audiences for his roles in Slumdog Millionaire and Life of Pi .

Rudy Shepherd (b. Baltimore, Maryland) lives and works in New York City. He received a B.S. in Biology and Studio Art from Wake Forest University (1998) and an M.F.A. in Sculpture from the School of Art Institute of Chicago (2001). His most recent solo exhibitions were held at HUB Robeson Gallery, Pennsylvania State University, State College, PA (2018); Spring/Break Art Show, New York, NY (2018), and he has been in group exhibitions at P.S.1 Contemporary Art Center, NY; Southeastern Center of Contemporary Art, NC; Museum of Science and Industry, Chicago, IL; Tart Gallery, San Francisco, CA, amongst others.

Rudy Shepherd was part of LMCC’s Process Space 2014 artist residency program.

Rudy ShepherdLot 40

Sea Sea2014

Digital print on Hahnemühle archival paper37.4 x 51.2 in (95 x 130 cm)

Image Courtesy Shantell Martin and Absolut ArtEstimated value: $1,000

Shantell Martin is a storyteller that uses her signature black and white drawings to fluidly explore her own identity as a queer woman artist of color, while simultaneously affirming the identity of the viewer. Her work brings together fine art, performance art, and technology in a truly unique fusion, and has adorned walls, sneakers, cars and even circuit boards with her whimsical visions.

This work brings together a collection of questions Shantell Martin poses in her work, and you, the observer, are the real answer.

Shantell Martin (b. 1980, London, England) lives and works in New York. Her first solo exhibition, Continuous Line, was held at Black and White Gallery in Williamsburg, New York, and her first solo museum show, ARE YOU YOU, opened at The Museum of Contemporary African Diasporan Arts in Brooklyn. Her installation Words and Line is currently on view at the Denver Art Museum. Since 2013, Martin has been an adjunct assistant professor at NYU Tisch School of the Arts. She is a 2018-2019 advisory board member for the Climate Museum in New York and an ambassador for the Global Poverty Project. Public art works include the screens at Oculus/WTC and The May Room at Our Lady Star of the Sea on Governors Island.

Shantell MartinLot 41

Inbox 2020

Oil on paper mounted on linen panel 12.5 x 9.5 (31.7 x 24cm)Courtesy of the artist


Tim Wilson embraces pre-modernist tendencies of representation, heralding them as necessary models for seeing today. Through his work, Wilson seeks to slow the viewer down by presenting quotidian motifs that highlight sedentary objects that exist all around us, but which may be ignored in favor of the more attention grabbing deluge of digital imagery that surrounds us. By painting what is plain sight, Wilson creates space for the viewer to slow down, reflect, to really look and feel.

Tim Wilson (b. Newport News, Virginia) lives and works in Brooklyn, New York. He earned his M.F.A in Painting from Yale University School of Art (2013) and B.F.A from Virginia Commonwealth University (1993). His recent solo exhibitions were held at Fahrenheit Madrid, Madrid, Spain (2020); Alfred University, Alfred, NY (2018); and Sardine, Brooklyn, NY ( 2016). He has been in group exhibitions at The Flag Art Foundation, New York, NY; Jack Hanley Gallery, New York, NY; and Harper’s Books, East Hampton, NY, amongst others. He has been awarded residencies at Offshore Residency (2019); Sol LeWitt Studio (2019) and Shandaken Project’s Paint School (2017-18).

Tim Wilson was part of LMCC’s Process Space 2016 artist residency program.

Tim WilsonLot 42

Alice in Responsibilityland 2019

Digital file11 x 8.5 in (27.4 x 21.8 cm)


This work is a digital file allowing the buyer to print one edition.

Even at home, we all have a lot to do. The question is where to start?

Liana Finck (b. 1986, New York) is a cartoonist and an illustrator who has contributed to The New Yorker since 2015. She studied fine art and graphic design at The Cooper Union in New York City, and earned a Fulbright Fellowship to conduct research in Belgium. Finck received a grant from the Six Points Fellowship for Emerging Jewish Artists and used the funds to create her first graphic novel, A Bintel Brief , published in 2014. Her latest book, Excuse Me: Cartoons, Complaints, and Notes to Self , is a collection of comics and was published in September 2019.

Liana Finck was part of LMCC’s Workspace 2014 - 2015 artist residency program.

Liana FinckLot 43

About LMCC

LMCC is committed to the belief that dialogue between artists and community can create a more just, equitable, and sustainable society. Founded in 1973, the organization has been a leading champion for independent artists and the cultural life force of Lower Manhattan, a local center of creativity with international impact. Through grants, residencies, and presentations, LMCC supports artists and engages audiences through programming that is always free and open to all. In 2019, LMCC opened the Arts Center at Governors Island, its first permanent space for artists and audiences, with 40,000 SF of dedicated exhibition and residency spaces, creating ever more opportunity for the public to engage with the visual arts.

In this unprecedented moment, LMCC’s efforts are more critical than ever to the wellbeing of individual artists and small arts groups that have been rendered vulnerable by the shutdown of the pandemic. With the “New York We Love You” benefit auction, LMCC will raise needed funds to continue providing resources for artists and the rebuilding of constituent communities.

How to Bid"New York We Love You” opens for bidding on May 18, 2020,

at 12PM noon EST, and runs through June 1 at artsy.net/lmccauction

For more detailed instructions visit artsy.net/how-auctions-work

RegisterRegister for the auction and

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BidPlace bids on your favorite lots.

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Documents

PARTICIPATING ARTISTS · Acrylic and oil on yupo paper 14 x 11 in (35.5 x 28 cm) Courtesy of the artist and James Cohan, New York Estimated v alue: $6,500 New York-based artist Firelei