Recent Projects


Sarah Lucas, Ebony G. Patterson, Matthew Weinstein, Karin Sander




Sarah Lucas
Sarah Lucas

Eating A Banana (Revisited) 1990-2017
Giclée print
36 x 48 inches (91.4 x 121.9 cm)
Signed, numbered and dated
Edition of 25
New Museum gala edition 2017

Although she was first associated with the punkish Young British Artists of the 1990s, Lucas's sculptures and photographs also engage the legacy of Surrealism by cleverly transforming found objects and everyday materials like cigarettes, fruits, and vegetables into absurd and confrontational tableaux that address subjects like death, sex, gender, and religion. The human body and anthropomorphic forms recur throughout Lucas's works, often appearing erotic, humorous, or fragmented. Whether in her soft sculptures-such as her stuffed-stocking works or in her photographic self-portraits, Lucas's works take on ambiguity and paradox and defy stereotypical representations of gender with distinct irreverence and wit. For the New Museum's anniversary, Lucas has created a special edition, Eating a Banana (Revisited) (1990-2017), which returns to an early self -portrait, never printed, that shared a contact sheet with her first self-portrait, the now-iconic Eating a Banana (1990).
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Ebony G. Patterson
Ebony G. Patterson

...bearing witness..., 2017
Archival dyes on jacquard, with embroidery, hand-knotted threads and assorted embellishments
52 x 69 inches (132.08 x 175.26 cm)
Signed, numbered and dated
Series of 10 unique variants
Published by Carolina Nitsch, New York for Prospect.4, New Orleans
Courtesy Monique Meloche Gallery, Chicago

Patterson’s multilayered work employs the opulence of its hand-embellished surface to seduce the viewer into confronting social realties. Indeed, a powerful message exists beneath the ornate web of threading and rhinestones that makes up the work’s large-scale composition, a call to action partially obscured, but no less clear: “See Me”. With this, Patterson commands the viewer to look past the façade – of the work’s rich formal characteristics, of the fabricated fantasies increasingly traded in our consumer and social media-centric culture – and to acknowledge the realities of those not touched by the glitter and gold. Patterson’s aesthetic pulls the viewer in and forces them to bear witness to the violence and social injustices imposed upon those deemed invisible. The paradoxical means the artist uses to convey this message only emphasizes its urgency and weight.
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Matthew Weinstein
Matthew Weinstein

Moons (after Raymond Roussel), 2017
Hand painted Sumi ink with screen print on Coventry rag paper
Signed, dated, numbered in pencil recto
58 ½ x 33 ¾ inches (148.6 x 85.1 cm)
Edition of 18 Published by Carolina Nitsch

Weinstein’s print, based on an illustration for an epic Raymond Roussel poem from 1934, utilizes a background layer of hand-painted sumi ink with silkscreen in silver and color. The image was altered, stretched, and inserted with illuminated solar flares that fill the blankness and stillness of the image; a glimpse of a double moon from another planet. By revealing the arid environments of the drawings, Weinstein transforms the space of them from the illustrative to the pictorial. Also, Roussel’s part mechanical and part imaginary writing process parallels the act of printmaking in which the hand, mind and machine work together to make an object.
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Karin Sander
Karin Sander

Kitchen Pieces, 2012-2017
Fresh fruit or vegetable on stainless steel nail
Dimensions variable
Boxed certificate with stainless steel nail and signed leporello; text by Eva Menasse
Series of 30 unique variants, each titled, signed and dated on certificate
Published by Carolina Nitsch

Sander’s art utilizes disparate mediums and techniques, but often aims to achieve a sense of wonder or “newness” by making minor alterations to an existing object. The Kitchen Piece works, a series of fresh fruits and vegetables carefully affixed, precisely nailed to a wall, command the observer’s attention by casting doubt on the reality of the object. When presented on the wall as an art object, the ordinariness of the fruit or vegetable is immediately confounded and the viewer assumes it must be made synthetically. Each piece in the series is accompanied by a signed certificate with a custom, hand forged stainless-steel nail with which to attach the object. The fruit or vegetable is supplied by the collector who chooses how long to leave the Kitchen Piece on the wall, which adds a further layer of complexity as the objects decay or dry like a flower.
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