Irving Penn in person

Mark di Suvero

Beethoven's Quartet
2003
Steel, stainless steel
24' 7" x 30' x 23' 3"
Lent by the artist and Spacetime C.C., New York
Storm King Art Center

Change The Way You See Everything

Uncle A

Leandro Erlich

Swimming Pool
2008
Masonry, swimming pool ladder, laminated glass and water
20 x 9 7/8 x 10 feet

Jannis Kounellis

Untitled
1962
Gouache on graph paper
27" x 39"
The Judith Rothschild Foundation Contemporary Drawings Collection Gift.

Blu & David Ellis

Flordali II

Salvador Dali
1981
Colored lithograph after an original collage
28.5" x 40.5"

Carnival at St. Petersburg

Mihail Chemiakin
1997
bronze
27 x 14 x 13 inches
Editions of 8

Sarome Tokyo

SJ4
Flint Ignition
Aluminum Black

Tate

Ernesto Bazan

Girl Playing Bride in Havana
1993

Art, 1972-2001

ROBERT INDIANA

Painted aluminium.  182.9 x 182.9 x 91.4 cm. (72 x 72 x 36 in).   Incised with signature, date and manufacturer details '© 1972-2001 R INDIANA MILGO BROOKLYN NY' and numbered of four artist's proofs on the inside of the A. This work is from an edition of six plus four artist's proofs and is accompanied by a certificate of authenticity.

Often associated with the pop art movement of the 1960s, Robert (Clark) Indiana was not at its center. Rather, he staked out a more interesting artistic position embracing aspects of pop's subjects and techniques but also some of the other stylistic elements and formal concerns of art in that decade, such as minimalist and op art. On the one hand, his letters and numbers share much with the visual linguistics of Jasper Johns or the signs and labels of Andy Warhol. On the other, Indiana's power of formal abstraction and graphic design bring him close to the colourfield reductions of jack Youngerman, Ellsworth Kelly, and early Frank Stella. Indiana's art deserves closer attention not just for his impeccable modulations of figure and ground  - The expressive shape of Silhouette – but equally for his colour juxtapositions, at once so blatant yet paradoxically subtle. Finally, whatever inspiration he has found in commercial culture, one measure of his career's achievement has been his reciprocal and indelible impact on contemporary design, where the imitations of his style seldom match the perfections of his forms. (J.Wilmerding 'The Shape Of Meaning', Robert Indiana, NY, 2006)

Monster, 1996

DOUGLAS GORDON (b.1966)
chromogenic print
printed label with credit, title, date and edition '2/11' on backing board
34 x 50in.

Monster is a characteristically unsettling work by Gordon, a conceptual photographer who wilfully pushes to the limit the sensitivities of his audience and their expectation of what a photograph can be. Gordon -- Turner Prize winner in 1996 -- plays disconcertingly with notions of the fluid nature of identity and its potential transmutations. His pictures are permeated with dark, unquantifiable forces that draw on such sources as film noir and 'High Gothic' fiction.

Jet of Water

Francis Bacon
1988
Oil on canvas; 77 15/16 x 58 1/16 in. (198 x 147.5 cm)
Collection of Mr. and Mrs. J. Tomilson Hill
Indicatephn a red arrow, liquid bursts across an unpopulated industrial landscape, obscuring the indeterminate object contained in the transparent box - the familiar, perspectival "visual machine" Bacon invented at the beginning of his career. He produced this "Jet of Water" - originally meant to depict a wave - by flying white paint across the surface of the painting, perhaps a reference to American abstract expressionism.

Tvotr

Hong Kong

M15

Hell, Heaven

Edward Ruscha (b. 1937)
signed, titled and dated 'HELL, HEAVEN ED RUSCHA 1989' (on the reverse and on the stretcher)
acrylic on canvas
72 x 96¼ in. (183 x 244.5 cm.)
Painted in 1989

The Kills

JS

Found You

A train

Lisztomania

DL

Vlad The Impaler

Organize + Unite!

Irving Penn

Girl in Bed
1949
New York
Platinum-palladium print, flush mounted on aluminum, printed 1970
signed, dated, numbered '6/15' in pencil, edition stamp and typed 'Condé Nast' copyright credit reproduction limitation label affixed (on the reverse of the mount)
21 x 15¾ in

Alan Grant

Audrey Hepburn and Grace Kelly backstage at the 1956 Academy Awards.

KDP_0027

Morrissey

Paul Outerbridge

Girl with Fan
1936

Hepburn

Julia Fullerton-Batten

Mirror

Bowie

Raf Simons

Alberto Pellaschiar/Associated Press

Harville the Ostrich

T&A

GN Morris

1972

Bert Stern

1962

Tipalet

Susan

Prince

David Eddington

Master Bedroom, 1965.

Andrew Wyeth

David Eddington

Macy

Amon Tobin