In this newsletter, I will be sharing available artworks and reasons why the artists’ markets are exciting from the perspective of investment and art history.
From there, you can reply and let me know if you are interested in acquiring the art. I will facilitate invoicing, shipping, framing, and installation in your home. My commission rate is the standard 10% of the artwork's retail value. Please note, inventory is rather fleeting, so never hesitate to contact me about a work if it interests you and I will place a hold with the gallery while you consider the purchase.
If you don't see a particular piece that speaks to you, but you are interested in a specific artist and would like to see more of their available work, including different sizes, please let me know. You can also share interests, ideas, and artists you would like to learn more about, or just let me know if you would like to work together.
Please subscribe if you would like to continue to receive this newsletter! Here are a couple of works I am thrilled to share:
Sarah Anne Johnson (Canadian, b. 1976)
WRFTS, 2021
Pigment Print with Oil Paint
Image: 60 x 40 inches (152.5 x 101.5 cm)
Framed: Approximately 64 5/8 x 44 5/8 inches (164 x 113.5 cm)
Signed, Titled and Dated Verso on Label
Unique
$ 22,000, framed with Optium
I have been following Sarah Anne Johnson’s career for several years and I am so pleased to see her work gain accelerated recognition. Her main practice takes photographs that she makes unique with applications of paint, holographic tape, metal leaf, and Photoshop. Often scenes from nature, Johnson alters the visual reality of the image with physical augmentations, just as we as individuals process the reality of what we see through our personal lens.
I love the monastic feel of the scale of her works, and the stained glass imagery redolent of religious spaces tethered to the contemplative nature of the outdoors. This work is from her 2020 Woodland series taken around her native Manitoba, Canada. Several works from this series were presented last fall at New York’s ADAA art fair and were all sold within the first day.
Johnson has an MFA in Photography from Yale University and her work is in the public collections of the Metropolitan Museum of Art, New York; the Guggenheim New York; Phillips Collection, Washington, DC; and The National Gallery Of Canada, Ottawa, ON.
Courtesy of the artist and Galerie Nathalie Obadia, Paris/Brussels
Hoda Kashiha (Iranian, b. 1986)
Half Sun, Half Moon, 2021
Acrylic, wood glue, silicon powder on canvas
Image: 47 1/4 x 39 3/8 inches (120 x 100 cm)
€11,000
I recently learned about Kashiha’s work and I was immediately captivated by the complexity of her layered visual language. She oscillates between digital and traditional painting through her use of different textures, which I think accurately depicts current trends in technology and our ever-changing reality. Not only does Kashiha reference Futurism and Cubism (I also see hints of de Kooning), her figurative choice of the body and face addresses current cultural and identity challenges arising on digital social platforms. This work is from Kashiha’s latest series The Banished Sun.
Kashiha has an MFA in Painting from Boston University and a BA in Painting from the University of Tehran. She has won numerous awards including the MacDowell Colony Fellowship in Peterborough (USA) and the Joan Mitchell Foundation Grant from Vermont Studio Center.
Dike Blair (American, b. 1952)
Untitled, 2019
Charcoal, gouache, gesso on paper
Image: 9 x 12 inches (22.9 x 30.5 cm)
Framed: 10⅛ x 13 inches (25.7 x 33 cm)
$ 12,000
I have been lusting after Dike Blair’s work for as long as I can remember. He paints quotidian images through a soft lens, stripped of any personal signifiers which allow his viewers to project their own meanings and nostalgia. When you think about art you want to live with in your home, Blair’s paintings are an easy choice with their approachability and empathy. His works will also feature cocktails, cigarettes, and other isolated objects that could be found in any place or any time. I find his pieces to be romantic that way, with the same timelessness as Hopper’s work.
Blair’s work is featured in the collections of the Whitney Museum, New York; Brooklyn Museum, New York; The Morgan Library & Museum, New York; the Museum of Contemporary Art Los Angeles; and Los Angeles County Museum of Art, Los Angeles, among others.
Larry Li (American, b. 1998)
ICONS, 2018
Oil, collage on canvas
Image: 48 x 36 inches (121.92 x 91.44 cm)
$6,000
I just learned about Larry Li this month as one of two artists in a Lower East Side gallery’s inaugural show; I respect the gallerist and always pay extra attention to the artists he represents. I love this specific work by Li because it exemplifies his examination of reconciling historical societal constructs with current identity culture. Li’s figures emotionally react to an image of an icon - a scene we can still relate to in today’s political landscape. I find this theme to resonate almost universally for each generation grappling with its inherited pasts and adapting to changing technologies and social issues. I would not be surprised to see his work collected by public institutions.
Larry Li is a Chinese American artist born and raised in the Bay Area, California. He has already won numerous awards and grants, including Asian Strength Art Competition (1st place); California Arts Council Individual Artists Fellowship; and AXA Art Prize as a Top 40 Finalist.
Hannah Lee
Cut fruit, 2017
Oil on panel
Image: 16 x 20 inches (40.6 x 50.8 cm)
$3,500
Hannah Lee is the artist I am most excited to share with you this month. Her entire show has sold out already, and this painting is only one of two remaining works available. Her delicate practice of painting tableau, dioramic scenes are so contemplative, and I love finding tiny details in each work such as the marble block in this work. Not only will the gallery have a write up in artnet next week, the New Yorker also just published coverage of Lee’s work. I’m thrilled by this excellent press and I can see her paintings becoming near impossible to access afterwards.