48 Claire Oswalt Dawn of a Deluge 2022 Acrylic on sewn canvas 100×77 in. Courtesy the artist and Rebecca Camacho Presents, San Francisco
Stefan Rinck’s sculpture Buffalo Stegosaurus appears as a timeless figure-- existing somewhere between the past, present and future. The hybrid nature of this work serves to break down hierarchies of sources, influences and chronology, from indigenous ritual carvings to paleontology. The artist’s own German artistic influences are seen in the sandstone’s handling and carving process. Rather than polish the stone, the artist embraces a roughness in the completed work-- the carving marks and stone’s natural markings produce a compelling interplay of shadow and light across the sculpture’s surface. 50 Stefan Rinck Buffalo Stegosaurus 2022 Sandstone 19×15¾× 67 in. Courtesy Nino Mier Gallery and the Artist. Photo: Matthias Kolb
THE LOREN AT PINK BEACH
54 Los Carpinteros Kosmaj Lego (diptych) 2012 Watercolor on paper 82½×95½ in. © Los Carpinteros Courtesy Sean Kelly The Cuban artists Los Carpinteros use influences of Surrealism in their work. This watercolor, titled Kosmaj Lego, depicts a monument built in1970 to commemorate the partisan fighters against the German occupation of Belgrad during WWII. Built in the Brutalist architectural style (a style that favored function over form), this monument has been left derelict, almost forgotten. In their watercolor, the artists are making a subtle commentary on the senselessness of war, by building the image out of legos--a child’s toy and something that can easily be pulled apart or come crashing down.
56
58 Erik Parker Maya Bay 2012 Acrylic on canvas 60×50 in. © Erik Parker Photo by Alexander Masters pages 56–57 Thomas Schutte The Frauen Portfolio 2006 Etchings on paper 18 sheets each 24×32 in. Courtesy Carolina Nitsch, NY
60 Nancy Rubins Study #1 2006 Inkjet prints on paper 47¾×36 in. © Nancy Rubins “I’m making something I want to see, that pleases my eye. I look for materials that are really poignant, that are compelling to me. And if I could tell you why they were compelling to me, I wouldn’t be a visual artist--I’d be a poet.” Nancy Rubins New York Magazine 2014
In 2008, Vik Muniz undertook a large-scale project in his country Brazil, photographing trashpickers (catadores) from the favelas. The catadores became collaborators in the project, picking and ultimately helping arrange the trash into the likeness of themselves posed as classical figures in famous art historical paintings—one woman posed with her two children as a Renaissance Madonna, another as Jean-Francois Millet’s Sower (1850), and one posed like JacquesLouis David’s Death of Marat (1793). This series of photos is known as Pictures of Garbage. In 2009 Muniz expanded this series into the Pictures of Junk series to include other subjects. The photograph hanging in The Loren at Pink Beach is based on the Maharam pattern– an archetype of patterning. At a distance, the pattern is very clear and dominant. Upon closer inspection one can see the refuse (tires, machine parts, trashcans) that make up the image. 62 Vik Muniz Decorative Pattern I (Pictures of Junk) 2009 C-print 86×71in. Artwork © Vik Muniz, courtesy Sikkema Jenkins & Co., New York
64 Massimo Bartolini Until It Breaks 2007 Ink on paper 59×59 in. Photo by Alexander Masters Until It Breaks was made using the classic child’s Spirograph toy. The artist allowed the Spirograph to rotate around the paper in it’s predetermined route until the repeating pressure of the ballpoint broke through the paper’s surface. Only at this point was the drawing considered done. Both accidental and controlled, visceral and classic, the final image can perhaps induce the viewer into a meditative state or to reflect on the relativity of what is stable and unchangeable.
66 Tony Feher Untitled 2010 Glass jars with metal screw caps, glass marbles, stainless steel wire 45×12×7 in. Artwork © The Estate of Tony Feher, courtesy Sikkema. Jenkins & Co., New York
68 Richard Long Untitled 2010 Red Vallauris clay on black card 39¾×56¾ in. Photo by Alexander Masters pages 70–71 Jane Wilbraham Sydenham Hill 2007 Watercolor on Arches paper 40×60 in. Unfettered 2010 Sycamore 161⁄2 ×23⁄8 ×51⁄8 in. Images courtesy artist and Hales, London and New York. Copyright the artist.
70
72 Wolfgang Laib You will go somewhere else 1995 Pencil and oil pastel on paper 18×125⁄8 in. Untitled 2009 Pencil and oil pastel on paper 121⁄2 ×123⁄8 in. Without Place - without Time - without Body 2006 Pencil and oil pastel on paper 13½×8½ in. © Wolfgang Laib Courtesy: Sean Kelly
74 Abdoulaye Konaté Composition en gris bleu et bande rouge horizontale (Composition in blue, gray, and horizontal red stripe) 2016 Textile 861⁄2 ×601⁄2 in.
76 Alan Shields Cotten Pickin’ Cotton Picker 1979–80 Acrylic, thread on canvas 59× 59 in. Courtesy Van Doren Waxter, New York
78 François Morellet 3D concertant n°8 : 35° 90° 25° 2014 Oil marker and acrylic on canvas 59 ×59 in. There is a relaxing and meditative quality to this painting that hangs at The Loren at Pink Beach. The artist Francois Morellet (b.1926 Cholet, France–d. 2016) was a French painter, sculptor, and light artist. His early work of the1950s prefigured Minimal Art and Conceptual Art, and he came to play a prominent role in the development of geometric abstraction. At first glance, this painting appears simple and static. Given a little time the viewer might notice movement in the lines and a sense of movement beyond the confines of the canvas. Morellet’s use of systematic patterns produces vibrant optical effects. It was this exploration into kinetic perception that brought Morellet’s work critical acclaim.
80 Elad Lassry Cardboard, Platinum Blond Wig, Gold Reflector 2007 C-print 11½×14½ in. Untitled (Cheetah Prints, Leopard Prints) 2008 Silver gelatin print 14×11in. Pine Cones 2012 Charcoal drawing, walnut frame 14½ ×11½×1½ in. Soccer Ball 2007 C-print 9½×11in.
82 Tim Noble Sue Webster Double Negative 2009 Painted bronze 11½×10¾×15½ in. Courtesy the artist Tim Noble & Sue Webster’s Double Negative is reminiscent of Rubin’s Vase, a famous set of cognitive optical illusions developed in the early twentieth century by Danish psychologist Edgar Rubin. This bronze sculpture shaped like a distorted chalice is an example of negative space inversion. In the negative space surrounding the sculpture a viewer can recognize another image: the silhouettes of two people kissing, particularly when viewed against a white backdrop
84 All from Thirty Pieces of Silver (Exposed) 2015 Polymer photogravure etchings on paper 26×21¼ in. Courtesy Cornelia Parker and Cristea Roberts Gallery, London © Cornelia Parker. Cornelia Parker Set of 12 Candlesticks with Slanting Shadows Broken Basket Broken Pot Four Silver Candelsticks Silver Basket Silver Bullet Teapot Silver Jug Silver Sauce Tureen Silver Sauce Tureens Silver Sugar Bowl Silver Tankard Silver Trophy
86 Dike Blair Untitled 2007 18 inkjet prints on 100% cotton rag paper Various sizes
88 Richard Galpin Splinter II 2009 Peeled photo paper 68×69 in. Richard Galpin is known for his striking, colorful artworks that appear more sculptural and painterly than the photographs that they are. Galpin’s observations of urban development are his subjects, with an emphasis on transforming urban infrastructures. The idea and theme of ‘erasure’ is prominent, both physically and metaphorically. This photograph began as an image of Times Square in New York. Using a technique of his own creation, Galpin meticulously peels away certain areas of the surface emulsion. The result is a dynamic interplay between the angular abstractions of the stripped white paper and the pristine surface of the remaining photograph. Through this ‘erasing’ or reductive process, new forms and spacial relationships emerge.
90 Benjamin Edwards Ping (Among the Towers) 2010 Unique digital inkjet drawing on paper 20×20 in. World (Among the Towers) 2010 Unique digital inkjet drawing on paper 20×20 in. Photo by Alexander Masters
92 Robert Curran DANCING WATER– RORSCHACH EDITION #10 C-print in four panels 72×72 in. Courtesy the artist DANCING WATER– RORSCHACH EDITIONS 9 C-prints 2017 36×72 in. Courtesy the artist When asked to create artworks for The Loren at Pink Beach, photographer, Robert Curran, chose to reference the sharp volcanic rocks that shaped Bermuda’s singular legacy of piracy and the ephemeral quality of the seawater upon them.These photographs,taken in proximity to the hotel in full light at1/800 of a second capture the dancing droplets that Hermann Rorschach in the1960s. The controversial tests were employed to detect underlying disorders through the analysis of the viewer’s experience, the most common being faces or other anthropomorphic forms that are experienced uniquely by each viewer. -—Joaquin Rivas are in the air— faster than the eye can see them, giving each photograph a unique interpretation of the ocean’s energy. Influenced by Da Vinci’s passion for symmetry, the photographs are then mirrored into each other, giving each viewer a unique combined image in much the same way psychological exams were performed by
94 Mark Dion Urban Food Web 1996 Silkscreen 27¼×32¼ in. Scala Naturae 1993 Photostat on paper 36×29 in. Scala Natura 2008 Offset lithograph 513 ⁄8 ×401⁄2 in. 300 Million Years of Flight 2012 Silkscreen on paper 36¼×30¾ in. Courtesy the artist and Tanya Bonakdar Gallery, New York/Los Angeles
96 Jon Kessler Untitled (Ikebana series) 2017 9 archival inkjet prints each unique 48×60 in. Courtesy the artist