Now in his eighties, artist Alex Katz is garnering renewed, late-career attention, with major exhibitions in recent years at the Metropolitan Museum of Art, Tate Modern and the National Portrait Gallery. Here, he depicts a seagull against a blue sky — an evocation of summer — in the flat, muted colours that are central to his artistic practice.
Printed in 1967, SP VIII is taken from Josef Albers’s best-known Homage to the Square series, in which his minimal geometric compositions are combined with variations in colour and tone to create infinite possibilities. The hugely influential Albers was an important figure in the history of post-war printmaking in America, and was one of the first artists to create prints at Gemini GEL in Los Angeles and at Tyler Graphics in Mount Kisco, NY.
An attractively priced work for an artist whose works regularly sell for over a million dollars at auction, Ohne Titel combines the most recognisable elements of Yoshitomo Nara’s oeuvre: dogs, cuteness and the void.
Described as ‘the world’s most popular artist’ in 2015, Yayoi Kusama has extended her global domination through 2017 with the blockbuster exhibition Infinity Mirrors, which has been attracting record numbers of visitors on its tour across five North American cities: Washington, D.C., Seattle, Los Angeles, Toronto and Cleveland. This work is relatively small in scale, although it delivers the same punch as her larger works through repetitive patterns that echo her signature ‘Infinity Nets’ and ‘Infinity Dots’.
A critic of modern American consumerism, Rosenquist appropriates the General Electric logo in Circles of Confusion, ingeniously reproducing the circle with a shaped canvas and transforming it with a brilliant palette of red, blue and yellow.
Ellsworth Kelly’s prints focus on pure colours and simple forms, often with a single shape in one colour on a plain white background, as seen in Untitled (Orange State III). Kelly plays with spatial illusion, creating a completely flat space where the figure and background are on the same plane. In this work the blank background is as important to the composition as both the shape and colour.
Lauded in a New York Times review, Against the Rules was included in a landmark show at the Guggenheim Museum in 1985, where the current owner spotted it, fell in love with the work and offered to buy it outright from the artist. The acrylic bleeds outward across the paper in a masterful application of Frankenthaler’s staining technique — a method she pioneered in the 1950s to create a remarkable finished product.
Bedroom Face #41 exemplifies Wesselmann’s bold approach to colour and the female portrait, featuring the bright Pop palette and subject matter found in the landmark Great American Nude Series that brought him acclaim in the 1960s.
As a pioneer of Abstract Expressionism who was pivotal in the development of many artists’ careers, including those of Louise Nevelson and Larry Rivers, Hofmann is either the perfect addition to a post-war collection or an impressive means of starting one. Painted in 1954, Untitled (Abstraction) is a small-scale example of Hofmann’s exuberant, colour-filled canvases.
Panama Hat is one of David Hockney’s ‘portraits’ of Henry Geldzahler, an important curator of contemporary and modern art who was best known for his work at the Metropolitan Museum of Art. Worried that it would make him look vain, Geldzahler refused to let Hockney create a proper full-length portrait, so instead the artist focuses on his signature Panama hat and coat draped on his chair.
Warhol created his Campbell’s Soup prints in the late 1960s during the same period as his iconic Mao and Marilyn screenprint series. These prints emphasise the ‘art as product’ concept that made Warhol famous, using a deadpan presentation of the subject on thin printing paper. Sold in cardboard portfolio boxes, they were designed to be made for a larger audience than his canvases of the same subject.