FLLAC EXH CAT 2008 081408

EXCERPT
Selections from the Jeanne Greenberg Rohatyn Collection

EXCERPT
Selections from the Jeanne Greenberg Rohatyn Collection
Barry X Ball
Tamy Ben-Tor
Huma Bhabha
Glenn Brown
Jennifer Cohen
Benjamin Edwards
Katy Grannan
David Hammons
Sarah Lucas
Julie Mehretu
Marilyn Minter
Wangechi Mutu
Tim Noble and Sue Webster
Richard Prince
Aïda Ruilova
Laurie Simmons
Rudolf Stingel
Piotr Uklanski

Excerpt: Selections from the Collection of Jeanne Greenberg Rohatyn
September 26, 2008 – January 4, 2009
This catalogue has been published in conjunction with the exhibition Excerpt: Selections
from the Jeanne Greenberg Rohatyn Collection, organized and presented at the Frances
Lehman Loeb Art Center, Vassar College, and curated by Mary-Kay Lombino.
ISBN # 978-0-9820606-0-5
Designed by Francie Soosman
Printed by Quality Printing Company, Pittsfield Massachusetts in an edition of 3,000 copies.
Text © Vassar College, 2008. Images © the artists.
No part of the contents of this book may be reproduced, in whole or in part, without the
permission of the publisher.
The Frances Lehman Loeb Art Center
Vassar College, Box 703
124 Raymond Avenue
Poughkeepsie, NY 12604-0703
Telephone 845 437 5632
Fax 845 437 5955
http://fllac.vassar.edu
Contents
Photo credits
John Smith, page 2, 3, 8, 10
Paul Smith, page 2, 3, 8, 10
Ringo Smith, page 2, 3, 8, 10
George Smith, page 2, 3, 8, 10
John Smith, page 2, 3, 8, 10
Paul Smith, page 2, 3, 8, 10
Ringo Smith, page 2, 3, 8, 10
George Smith, page 2, 3, 8, 10
John Smith, page 2, 3, 8, 10
Paul Smith, page 2, 3, 8, 10
Ringo Smith, page 2, 3, 8, 10
George Smith, page 2, 3, 8, 10
John Smith, page 2, 3, 8, 10
Paul Smith, page 2, 3, 8, 10
Ringo Smith, page 2, 3, 8, 10
George Smith, page 2, 3, 8, 10
Acknowledgments 5
Director’s Foreword 6
An Interview by Mary-Kay Lombino 8
No.s 17
Exhibition Checklist 68

Acknowledgments
It is with great enthusiasm that The Frances Lehman Loeb Art Center at Vassar College
presents the exhibition Out of Shape: Stylistic Distortions of the Human Form in Art from
the Logan Collection the first exhibition that focuses exclusively on works on paper from
this outstanding collection of the art of our time. We are honored to have the opportunity
to work with Vicki and Kent Logan to bring this aspect of their work to the public and we
are deeply indebted to them for sharing their collection as well as their time, energy, passion,
and expertise at every step of the way. It is their vision, generosity, and commitment
to supporting artists in whom they believe that allows us to bring this extraordinary artwork
to our audience and to enrich the lives and educations of the students at Vassar
College.
While all of the loans for this exhibition originate from the Logan Collection,
several works are fractional and promised gifts to the San Francisco Museum of Modern
Art and the Denver Art Museum. We would like to thank Neal Benezra, Director of San
Francisco Museum of Modern Art along with Kelly Parady, Assistant Registrar for her
coordination of the loans and Lewis Sharp, Director of the Denver Art Museum with Jill
Desmond, Assistant Curator and Lori Iliff, Registrar who both assisted in coordinating
loans. Robyn Wiley, Collection Manager for the Logan Collection, provided valuable information
and assistance with all aspects of the exhibition from its inception.
Jeanne Greenberg Rohaty
Standing in front of TK
We are grateful to George Laws for his skillful design of all of the exhibition materials
including this catalogue and to Janet Allison who coordinated the publication. We would
also like to recognize the entire staff of the Frances Lehman Loeb Art Center for their support
and dedication, especially Registrar Joann Potter, who expertly handled the formidable
task of arranging the crating and shipping of the work.
And finally, we would like to thanks the artists whose work is included in Out of Shape for
their remarkable artworks and insightful contributions to contemporary culture.
4
5

Director’s Foreword
When the Vassar College Art Gallery first opened its doors in the mid-nineteenth century,
its collection was primarily composed of contemporary art—admittedly academic painting
before there was really such a thing as the avant-garde, but contemporary nonetheless.
Over the ensuing 140 years, what was once contemporary grew to be historical and Vassar’s
curriculum in the history of art grew accordingly. However, all along the way the Vassar
academic emphasis on “going to the source,” included many art instructors’ insistence that
their students be aware of contemporary artistic movements. Visits of contemporary artists to
campus whether Le Corbusier, Alexander Calder, Sol LeWitt, or Jenny Holzer have brought
life to the teaching of art as an ever-evolving historical discipline rooted in the present. At
what is now the Frances Lehman Loeb Art Center, we have benefited over the years from
Vassar graduates’ pursuit of modern art as collectors and, eventually, donors to the collection.
Paintings in our collection by Francis Bacon, Jackson Pollock, and Mark Rothko, for
example, were acquired by their donors while the artists, themselves were still young or in
mid-career and before they made their permanent impact on the history of art.
Since we are primarily an institution that collects art that can be interpreted historically for
our students, it is only recently in this museum’s history that we have had the luxury of
having a curator on staff who is a specialist about the art of today. Mary-Kay Lombino,
who joined the Frances Lehman Loeb Art Center in the autumn of 2005, has played an
important role in focusing the institution’s attention on the important art movements of the
present while serving as a resource for alumni who are engaged in the collecting of contemporary
art. It is self-evident that we would not be able to mount the present exhibition Out
of Shape: Stylistic Distortions of the Human Form in Art from the Logan Collection without
the cooperation of Vicki Logan, Vassar class of 1968 and her husband Kent Logan. But
it is equally true that, had we wished to undertake this project earlier, the curatorial expertise
would not have been in place to bring it to fruition.
tion that has rigorously maintained standards. Hence, the results are far more than a list of
randomly selected brand-name trophies snagged from the intensely competitive contemporary
art market. It is, instead, a rigorously vetted visual and intellectual exercise that has
taken, at times, considerable risks but has often charted exciting new territories. Their forays
into the new generation of British and Chinese artists, for example, have yielded important
results in exposing a greater public to these vibrant contemporary centers. The Logans have
had the courage to rely on their instincts in forming their collection. In the museum world,
they are known as “activist” collectors who insist that their involvement actually yields a
contribution to the collective cultural consciousness. We are very grateful to both of them for
allowing us to celebrate their accomplishments and share a portion of the results with our
students and faculty.
James Mundy
The Anne Hendricks Bass Director
The Logan Collection is rightly world famous. It has been the focus of an intelligent and
passionate pair of collectors who have collaborated from the outset on assembling a collec-
6
7

The Pleasure of Looking
an interview with Jeanne Greenberg Rohatyn by Mary-Kay Lombino
Art advisor, curator, and collector Jeanne Greenberg Rohatyn founded Salon 94 in the first
floor of her Manhattan home in 2002, to be an experimental project space for emerging
and mid-career contemporary artists. Much of her own collection can be found on display
just upstairs, in her family’s living space. The works in her private collection reflect a personal
connection to the artists she supports, and reveals how her passion for art permeates both
her private and professional life. While the work shows evidence of a diverse set of social,
political, ethnic, and intergenerational interests, it is bound together in this distinguished
collection, which illustrates the personal preferences of an experienced collector with a
well-trained eye, but also reveals a rare intimacy and deep understanding of the power
of the art of our time.
MKL What were your first memorable art experiences as a child?
JGR In 1970, a truck pulled up to our house, in suburban St. Louis, and unloaded a large
crate, in it a Morris Louis painting. Squeezed into our living room—a small cozy space
with over stuffed madras couches, walled with taxidermy animal heads, this painting was
an alien landed. My mother looked at this veiled monster, and announced that either the
Florine Stettheimer
TK
8
9

house or the painting had to go. The following day, my father went out and bought an
enormous Tudor house.
He hired architectural students at Washington University to renovate—they built thick sheet
walls to attach to the historic wood panels for hanging. It was a house bought for art,
sparingly outfitted with just the essentials. Keeping with the minimalist tenets of the time,
the walls were gallery white. Yet the house itself, built after the 1904 worlds fair, had its
own nature—it was detailed ornately with carved lions on its grand stairwell (the original
owner’s name was Lionberger Davis), coiffured ceilings and a sunroom with leaded glass
windows. The pairing of my parents emerging collection and this house gave me a solid
sense that art pulls one out of the domestic. Yet, art always needs a lot of help … and the
character of a place allowed the art to breathe in a dynamic way.
In order to collect full time, my father became an art dealer in 1971. He showed and collected
the artists of his generation: Roy Lichtenstein and Andy Warhol followed by Richard Serra,
Donald Judd and Dan Flavin. In 1975, Warhol sent The Greenberg Gallery a role of purple
Mao wallpaper for his upcoming exhibit there. My father brought it home and used it to
wallpaper the powder room. During the evening’s celebrations, a shy wigged Warhol hung
out in this bathroom, signing Campbell’s Soup cans nicked from our pantry by my parents’
friends. I stood below him—and when he had a break he would doodle bananas on a napkin
for me. It was finally at Vassar that I saw the album cover of the Velvet Underground.
My two sisters and I each selected a work of art for our rooms—I chose a painting by John
Tuttle (a now obscure artist)—a shaped canvas with the word ART scripted in the center
and dollar signs doodled in the four corners. Its symbolism clearly foreshadows my life in
art and commerce.
MKL As a student at Vassar, you studied Art History. Is there anything in particular about
your college education that informs your relationship with art today?
Stettheimer Salon Recreation
TK
JGR The museum was always a great walk-through. There, I discovered the Florine
Stettheimer who became the inspiration for an exhibition I mounted years later (199-) in
11

the green room of the Gramercy Park Fair, entitled TK. I was fascinated with the pre-war
attitudes of the Stettheimer sisters and their famed salon at Alwyn Court. They represented
great contradictions from frivolous to the serious—Duchamp taught the heiresses French
while they sat for manicures; yet each were devoted to her own discipline (writer, painter,
dollhouse maker). The salon was occasion for Florrine to dramatically unveil her paintings,
revealing her fantastic paintings of and to her artistic friends. Yet, her ultimate place as
hostess unnerved me. We recreated her salon in spirit—combining works by Warhol, Jeff
Koons and a then emerging Elizabeth Peyton, and borrowed from Columbia University
some of Stettheimer’s greatest paintings—including her self-portrait as the nude Olympia.
Imitating her aesthetic, we covered the walls with cellophane, and Virgil Thomas was
played on the piano.
MKL How did you begin collecting?
JGR I collected what my parents did not. It started with ceramics (my father, a hard core
minimalist, would have never purchased what he stills consider to be tchotki) —and moved
onto artists of my generation. Whenever I make money, it goes towards an art purchase. I
had a slow start and I regret not having starting earlier. Joe Pulitzer, Jr. once described to
me his connoisseur classes at Harvard, where the art history professor would bring in each
week an actual work of art to study—Alberto Giacometti, Auguste Rodin, Èdouard Manet,
and so on. Often the young men in the class, many heirs to great fortunes, would track
down and buy the artworks. Imagine, in 1936, as a Harvard undergraduate, he bought
Amedeo Modigliani’s Elvira Resting at a Table! That is a good beginning.
MKL What attracted you to contemporary art?
JGR I like being in dialogue with artists. Many are among my close friends. Gregory
Crewdson, whom I met shortly after moving to New York in 1990, and I imagined a show
called Suburbia while chatting about Steven Spielberg movies and our favorite short story,
The Swimmer by John Cheever. And, while this project was never realized, in 1999 we
ultimately co-curated Another Girl/Another Planet, which introduced young narrative
photography. The show grew from comparing studio visits—Gregory teaching at Yale,
TKkkkkkkkkkkkkkk
TK
12
13

TKkkkkkkkkkkkkkk
TK
and me in New York and London. I continue to work with Katy Grannan and Malerie
Marder, whose work was featured. Inspired by this young work, Gregory later began to
place figures in his own landscape photographs.
MKL What kinds of qualities do you look for in an artwork that you are considering for
purchase?
JGR An element of surprise. The works must have beauty, concept, and the pleasure of
looking. I also seek out raw talent in an artist.
MKL Once you begin collecting a particular artist’s work, do you form a bond to that
artist, or do you feel a certain commitment to continuing to support him or her?
JGR It is a luxury to support an artist throughout his or her career. As a patron of young
artists, I often buy early on, yet I am priced out of their market soon thereafter. I have
made a commitment to a handful of artists, whom I will continue to support. I will keep
working to afford their work.
Katy Grannan makes a portrait of our children every year that we use as our signature
holiday card. We also collect her work in depth.
MKL As you live with an artwork over a long period, how does your relationship with that
artwork evolve with time?
JGR At home, I regularly move artworks around, playing with their context in relation to
other works. Likewise, artwork in this exhibition and its Vassar installation will acquire
new meaning. The Richard Prince car hood shown next to a Mark Rothko painting will
look classical and monastic—yet at home, next to an Adam McEwen gum painting and a
Takashi Murakami painting—it looks dangerous, Pop, and trashy. Sometimes it takes years
for a work to look classic—with other works it happens overnight. When I bought Sara
Lucas’ Notorious Dream, I instantly thought about it in relation to Hans Bellmer and to
15

Pablo Picasso portraits of seated woman—yet in our living room—these are mere passing
historical notations to a deeply radical work.
MKL Are there any works in your collection that are difficult to live with?
JGR Yes, Reneke Diekstre New Mothers photographs. These fill everyone with discomfort—
especially men. When they were hung in our living room, even seasoned curators turned
their backs on it. These are now a promised gift to The Museum of Modern Art.
MKL As a patron and producer of many artists’ projects, how do you see your role in the
artistic vision of an artist?
JGR I like to produce projects that are performative in nature. I am planning with Art
Production Fund a Sylvie Fleury Fluxus Symphony at The Armory Show this February.
Artists often find Salon 94 to be a safe place to make new work. Perhaps because it is just
off the grid enough that it allows them to experiment. Wangechi Mutu made her first largescale
installation there, and for the past several years Tamy Ben-Tor has used it as a space
to develop her characters. These projects are non-commercial in nature.
MKL I noticed that some of the works in your collection are very personal in subject matter.
Some examples are the Katy Grannan photographs and the Barry X Ball portrait of you.
Are these commissioned works?
JGR Yes, my husband, commissioned several artists to make works for me as a fourtieth
birthday gift. He asked artists with whom I have worked in the past.
MKL Are there any artworks that you wish you had bought, but are no longer available?
JGR Many! While they are seemingly in opposite camps—the two artists who have influenced
me most are David Hammons and Jeff Koons. I am sorry that I do not own more of
their works. I have been lucky, as many have passed through my hands as a dealer.
New Mothers
TK
16
17

The Collection
18
19

No. 1
Barry X Ball
The artist, taking the life-cast head of his New York gallerist as a jumping-off point, in
a concerted effort to reinvigorate the sub-genre of romantic portrait sculpture, has here
conjoined his signature fever-pitch execution intensity and a newfound conceptual tenderness.
Realized as a mirror-image of the subject, at 85% scale, in an exceptional specimen of
dramatically-figured, exuberantly- colored translucent onyx, exhibiting a layered surface
suffused with a ‘sfumato’ overlay of foliate relief and coincident miniscule diagonal/radial
flutes, the stony surrogate captures, in soft Galatean contravention of its obdurate materiality,
a moment of poignant reverie.The artist-designed integral / modular base, it’s tapering
parabolic sweep flowing into the sculpture’s glass-polished flute stem (which, in turn,
terminates in a silhouetted arboreal fringe), conceived in parallel with the sculpture, preciselyfabricated
in stainless steel, limestone, acrylic-spray-lacquered aluminum and wood (and a
variety of subsidiary materials) by a studio-coordinated consortium of disparate fabricators,
is reminiscent, alternately, of traditional ‘socles’ and mid-20th-century Modernist furniture
pedestals. The resultant deceptively-diminutive ensemble, created with deep reverence for
and specific focus on the history of sculpture, makes an expansive case for the critical
reconsideration of prevailing contemporary practice, while simultaneously probing both
the subject’s psychology and her complex relationship to the artist, 2007-2008
Mexican Onyx
20
21

No. 2
Tamy Ben-Tor
Exotica, The Rat and The
Liberal, 2005
No. 3
Tamy Ben-Tor
Exotica, The Rat and
The Liberal, 2005
22
23

No. 5
Tamy Ben-Tor
The Tea Lover, year
24
25

No. 8
Glenn Brown
Holy Virgin, 2003
No. 7
Huma Bhabha
Sleeper, 2005
26
27

No. 9
Jennifer Cohen
Grey Line in Three Parts (i), 2008
28

No. 10
Benjamin Edwards
Decoherence, 2001
31

grannan
grannan
No. 11
Katy Grannan
Title TBA, 1999
No. 12
Katy Grannan
Alexander Kay Rohatyn, November 2000, 2000
32
33

grannan
grannan
No. 13
Katy Grannan
Alexander Kay Rohatyn, YMCA, December 2001, 2001
No. 14
Katy Grannan
Title TBA, 2002
34
35

grannan
grannan
No. 15
Katy Grannan
Alexander Kay and Colette Fay Rohatyn, December 2003, 2003
No. 16
Katy Grannan
Alexander Kay and Colette Fay Rohatyn, November 2004, 2004
36
37

grannan
grannan
No. 17
Katy Grannan
Alexander Kay, Colette Fay and Clara Michele Rohatyn, November 2005, 2005
No. 18
Katy Grannan
Alexander Kay, Colette Fay and Clara Michele Rohatyn, November 2007, 2007
38
39

No. 19
David Hammons
Hair Relaxer, 2001
No. 20
David Hammons
Don’t Bite The Hand That Feeds, 1974
40
41

No. 21
David Hammons
Flight Fantasy, 1995
42
43

No. 23
Sarah Lucas
Stars at a Glance, 2007
No. 22
Sarah Lucas
The Notorious Dream, 2004
45

No. 24
Julie Mehretu
Dispersion, 2002
46
47

No. 25
Julie Mehretu
Excerpt (molotov cocktail), 2003
No. 26
Julie Mehretu
Excerpt (riot), 2003
48
49

No. 28
Marilyn Minter
Nose Drops, 2007
No. 27
Marilyn Minter
Glazed, 2006
50
51

No. 30
Wangechi Mutu
People in glass towers should not imagine us
No. 29
Wangechi Mutu
The Mare, 2007
53

No. 31
Tim Noble and Sue Webster
Twin Suicide, 2005
54

No. 32
Richard Prince
Untitled (de Kooning), 2005
No. 33
Richard Prince
Untitled (de Kooning), 2005
56
57

No. 34
Richard Prince
Untitled, 2008
58
59

No. 37
Aïda Ruilova
Alright, year
No. 39
Aïda Ruilova
Alright, year
No. 38
Aïda Ruilova
Alright, year
60
61

No. 36
Aïda Ruilova
Life Like, 2005
No. 36
Aïda Ruilova
Cello, TK
62
63

No. 40
Laurie Simmons
The Music of Regret, 2006
No. 40
Laurie Simmons
The Music of Regret, 2006
64
65

No. 40
Laurie Simmons
The Music of Regret, 2006
66
67

No. 42
Rudolf Stingel
Untitled (After Sam), 2005
No. 41
Rudolf Stingel
Untitled, 1989
68
69

No. 43
Piotr Uklanski
The Nazis, 1999 (set B)
70
71

No. 43
Piotr Uklanski
The Nazis (Details), 1999 (set B)
72 73

No. 44
Piotr Uklanski
Untitled (Carotid Artery), 2007
74
75

Exhibition checklist
Dimensions are given in inches, height preceding width,
preceding depth. All works are from the collection of
Jeanne Greenberg Rohatyn unless otherwise indicated.
Barry X Ball
(b. 1955 Pasadena, California; lives in New York)
1. The artist, taking the life-cast head of his New York
gallerist as a jumping-off point, in a concerted effort to
reinvigorate the sub-genre of romantic portrait sculpture,
has here conjoined his signature fever-pitch execution
intensity and a newfound conceptual tenderness. Realized
as a mirror-image of the subject, at 85% scale, in an
exceptional specimen of dramatically-figured, exuberantlycolored
translucent onyx, exhibiting a layered surface
suffused with a ‘sfumato’ overlay of foliate relief and
coincident miniscule diagonal / radial flutes, the stony
surrogate captures, in soft Galatean contravention of its
obdurate materiality, a moment of poignant reverie.The
artist-designed integral / modular base, it’s tapering
parabolic sweep flowing into the sculpture’s glass-polished
flute stem (which, in turn, terminates in a silhouetted
arboreal fringe), conceived in parallel with the sculpture,
precisely-fabricated in stainless steel, limestone, acrylicspray-lacquered
aluminum and wood (and a variety of
subsidiary materials) by a studio-coordinated consortium
of disparate fabricators, is reminiscent, alternately, of
traditional ‘socles’ and mid-20th-century Modernist furniture
pedestals. The resultant deceptively-diminutive ensemble,
created with deep reverence for and specific focus on the
history of sculpture, makes an expansive case for the critical
reconsideration of prevailing contemporary practice, while
simultaneously probing both the subject’s psychology and
her complex relationship to the artist, 2007-2008
Mexican Onyx
13 3/8 x 6 3/8 x 7 1/8 in.
Tamy Ben-Tor
(b. 1975 Jerusalem, Israel; lives in New York)
2. Title, year
Medium
duration
3. Title, year
Medium
duration
4. Title, year
Medium
duration
5. Title, year
Medium
duration
6. Title, year
Medium
duration
Huma Bhabha
(b. 1962 Karachi, Pakistan; lives in Poughkeepsie, New York)
7. Sleeper, 2005
Mixed media
23 2/3 x 18 x 75
Glenn Brown
(b. 1966 Hexham, Northumerland, England;
lives in London)
8. Holy Virgin, 2003
Oil on panel
44 7/8 x 30 1/8
Jennifer Cohen
(b. YEAR PLACE; lives in Brooklyn, New York)
9. Grey Line in Three Parts (i), 2008
Wood, cellucly, cement, glue, leather shoe, fabric
36 x 20 x 12 ?
Benjamin Edwards
(b. 1970 Iowa City, Iowa; lives in Washington, DC)
10. Decoherence, 2001
Acrylic, texture mediums, foam, spray paint
96 x 144
Katy Grannan
(b. 1969 Arlington, Massachusetts; lives in San Francisco and
New York)
11. Alexander Kay Rohatyn, November 2000, 2000
C-print
16 x 11
12. Alexander Kay Rohatyn, YMCA, December 2001, 2001
C-print
16 x 11
13. Title TBA, 2002
C-print
16 x 11
14. Alexander Kay and Colette Fay Rohatyn,
December 2003, 2003
C-print
16 x 11
15. Alexander Kay and Colette Fay Rohatyn,
November 2004, 2004
C-print
11 x 16
16. Alexander Kay, Colette Fay and Clara Michele Rohatyn,
November 2005, 2005
C-print
11 x 16
17. Title TBA, 2006
C-print
11 x 16
18. Alexander Kay, Colette Fay and Clara Michele Rohatyn,
November 2007, 2007
C-print
11 x 16
76
77

David Hammons
(b. 1943 Springfield, Illinois; lives in New York)
19. Don’t Bite The Hand That Feeds, 1974
Body print on paper
10 ? x 13
20. Flight Fantasy, 1995
Paint on wall, heavy metal wire hoops,
human hair, crystals, netting
144 x 96
21. Hair Relaxer, 2001
Chaise lounge, hair
25 x 65 x 30
Sarah Lucas
(b. 1962 London; lives in London)
22. The Notorious Dream, 2004
Natural tights, stockings, chair, kapok wire,
spam, helmet
37 3/8 x 38 x 40
23. Stars at a Glance, 2007
Concrete shoes, bra, football, cigarettes
10 2/3 x 13 x 10 2/3
Julie Mehretu
(b. 1970 Addis Ababa, Ethiopia; lives in New York)
24. Dispersion, 2002
Ink and acrylic on canvas
90 x144
25. Excerpt (molotov cocktail), 2003
Ink and acrylic on canvas
32 x 54
26. Excerpt (riot), 2003
Ink and acrylic on canvas
32 x 54
Marilyn Minter
(b. 1948 Shreveport, Louisiana; lives in New York)
27. Nose Drops, 2007
Enamel on metal
53 x 35
28. Glazed, 2006
Enamel on metal
96 x 60
Wangechi Mutu
(b. 1972 Nairobi, Kenya; lives in New York)
29. The Mare, 2007
Mixed media on Mylar
85 x 60
30. People in glass towers should not imagine us
Ink, acrylic, glitter and collage on watercolor paper
51 x 72
Tim Noble and Sue Webster
(b. 1966 Stroud, England; lives in London)
(b. 1967 Leicester, England; lives in London)
31. Twin Suicide, 2005
Welded scrap metal, light projectors
Tall tower 184 ? x 21 ? x 59 ?
Short tower 85 ? x 14 ? x 64 ?
Richard Prince
(b. 1949 Panama; lives in New York)
32. Untitled (de Kooning), 2005
Collage and graphite on paper
22 ? x 35 1/8
33. Untitled (de Kooning), 2005
Collage and graphite on paper
22 1/4 x 27 ?
34. Untitled, 2008
Steel, wood, acrylic, Bondo
66 x 55 x 6
Aïda Ruilova
(b. 1974 Wheeling, West Virginia; lives in New York)
35. Title, year
Medium
duration
36. Title, year
Medium
duration
37. Title, year
Medium
duration
38. Title, year
Medium
duration
39. Title, year
Medium
duration
Laurie Simmons
(b. 1949 Long Island, New York; lives in New York)
40. The Music of Regret, 2006
35-millimeter film transferred to DVD; edition of 5
44 minutes 14 seconds
Rudolf Stingel
(b. 1956 Merano, Italy; lives in New York)
41. Untitled, 1989
Oil on canvas
67 x 47 1/4
42. Untitled (After Sam), 2005
Oil on canvas
15 x 20 ?
Piotr Uklanski
(b. Warsaw, Poland 1968; lives in New York and Warsaw)
43. The Nazis, 1999 (set B)
41 color coupler prints mounted on Sintra, ed. 2/10
13 ? x 10 each; 13 ? x 403 ? overall
44. Untitled (Carotid Artery), 2007
Epoxy resin on canvas
45 x 60 4/5
NOTE
The selection of video works by Tamy Ben-Tor and Aïda
Ruilova are displayed on a flat screen on the
second floor landing.
The Music of Regret, a film by Laurie Simmons will be
screened several times during the run of the exhibition.
78
79

80