Regen Projects is pleased to participate in Art Basel 2024. This digital showcase reflects highlights from the gallery's in-person presentation, which brings together outstanding artworks representing the diverse media, styles, and techniques employed by the gallery's artists.
Featured artists include Doug Aitken, Matthew Barney, Kevin Beasley, Walead Beshty, John Bock, Abraham Cruzvillegas, Georgia Gardner Gray, Rachel Harrison, Alex Hubbard, Elliott Hundley, Sergej Jensen, Anish Kapoor, Liz Larner, Marilyn Minter, Rebecca Morris, Aliza Nisenbaum, Catherine Opie, Silke Otto-Knapp, Raymond Pettibon, Jack Pierson, Daniel Richter, Sable Elyse Smith, Wolfgang Tillmans, Gillian Wearing, James Welling, Alberta Whittle, Sue Williams, and Andrea Zittel, among others.
Dates
June 11 – 16, 2024
Address
Messe Basel
Messeplatz 10
4058 Basel
Switzerland
Booth
Hall 2.1, Booth P6
Aliza Nisenbaum
The Ankle Strap
2024
Oil on linen
66 x 57 x 1 1/2 inches (167.6 x 144.8 x 3.8 cm)
Aliza Nisenbaum
The Ankle Strap (detail)
2024
Oil on linen
66 x 57 x 1 1/2 inches (167.6 x 144.8 x 3.8 cm)
Inspired by visits to dance studios throughout east LA, The Ankle Strap is part of a new body of work that Nisenbaum will debut as part of her inaugural exhibition at Regen Projects in September 2024. Poised and focused, The Ankle Strap introduces us to a dancer as she prepares, attentive especially to the most decisive details. Likewise, Nisenbaum’s painting orchestrates a concert of humming patterns and colors, from the rhyming latticework of her tights and the gauzy curtains that drape and cocoon the room, to the lacey fretwork of her leotard and the pronounced grain of the wooden floor.
Nisenbaum’s socially engaged portraits emerge from prolonged, thoughtful exchanges between the artist and members of carefully chosen and specific communities. Lushly patterned, Nisenbaum’s paintings illuminate and animate the material conditions of their lives. By fostering connections and sharing skills and resources over extended periods of time, Nisenbaum develops an understanding of the identities, histories, and contexts that frame her subjects. As such, her practice expands—and even exceeds—the delimited space of a painted portrait.
Selected solo and two-person exhibitions of the artist’s work include The Metropolitan Opera, New York (2023–2024); Queens Museum (2023); Kemper Museum of Art (2022); Tate Liverpool (2020); Minneapolis Institute of Art (2017–2018); and Illinois State University (2007); among others. Commissioned by Delta Air Lines and Queens Museum, Aliza Nisenbaum’s mosaic project, The Ones who Make it Run, is now on view as a permanent installation in Terminal C at LaGuardia Airport. Nisenbaum’s composition depicts 16 Delta and Port Authority essential workers in her socially responsive and singularly vibrant style.
Gillian Wearing
Rembrandt's eyes
2023
Oil on canvas
27 x 19 x 1 1/2 inches (68.5 x 48 x 4 cm)
Over a career spanning three decades, Gillian Wearing has produced works in an array of media, including photography, video, sculpture, and painting, that question fixed notions of identity and test the boundaries between the self and the collective. Gillian Wearing’s own eyes usually peer out from behind the masks in her photographs; however, in Rembrandt’s eyes, 2023 she appropriates the eyes of the Dutch painter for her own image. Noted for his intense, absorptive, theatrical self-portraits, the allusion to Rembrandt underscores how her multifaceted practice draws from an established archive of images and image-makers embedded in the history of painting, prints, photography, and performance.
“In my mask work my eyes have always been visible but not my face, in this painting it is the other way around; I have Rembrandt’s eyes. I wanted to explore what it would look like to have his eyes, that intense way he looked at himself whilst painting his portrait. The portraits we view of him, ones that he looked at himself in the mirror and then in the gallery is looking out as us. He was an artist who also used himself to create fictional characters, but it is the self-portraits, unadorned, that interest me, in that they speak about mortality, the aging process. The face looks and doesn’t look like me, as his eyes are from a different bone structure, so they take the form of a mask, a disguise. Like my photographs, Rembrandt is part of what I classify as the spiritual family; he was very important during my early student days when I was learning to paint.”
Gillian Wearing –
Wearing was recently the subject of Gillian Wearing: Wearing Masks, a major retrospective at the Solomon R. Guggenheim Museum, New York (2021–2022). Recent solo exhibitions include Life: Gillian Wearing, Cincinnati Art Museum (2018); Gillian Wearing – Family Stories, The National Gallery of Denmark, Copenhagen (2017); Gillian Wearing and Claude Cahun: Behind the mask, another mask, National Portrait Gallery, London (2017); Gillian Wearing, Institut Valencià d'Art Modern (2015); among others. Wearing was awarded the Turner Prize in 1997, elected a lifetime member of the Royal Academy of Arts in 2007, and appointed an OBE in 2011. She was awarded Commander of the Order of the British Empire in 2019.
Sable Elyse Smith
Coloring Book 149
2024
Screen printing ink, oil pastel, and oil stick on paper
63 x 52 3/4 x 2 1/2 inches (160 x 134 x 6.4 cm), each
Sable Elyse Smith has parsed the materiality of ideology and its insidious infrastructures for over a decade. Spanning work in video, sculpture, photography, works on paper, and text, she samples and combines distinct visual cultures and architectural forms to visualize the carceral state, scrutinizing how power and inequity solidify and delimit real lives.
Smith’s Coloring Book paintings continue a series the artist has developed over the course of several years, featuring pages from an activity book designed to teach children about the judicial process. Enlarged to monumental scale, bright color and expressive marks jar with the tenor and formal qualities of the found image. Animated and unsettled by a crayon box’s variety of colors laid down in expressive swathes and scrubs of oily paint, Smith’s interruption of this found image and its embedded ideologies interrogates how distinctions and definitions of space, perception, and description dangerously weave acts of violence, education, and social spectacle together.
Sable Elyse Smith was recently named the 2026 recipient of the Suzanne Deal Booth / FLAG Art Foundation Prize. Smith will present a solo exhibition at The Contemporary Austin – Jones Center in spring 2026. Following its premiere in Austin, the exhibition will travel to The FLAG Art Foundation in New York. Smith will also receive a $200,000 award, an accompanying publication, and related public programming at both venues.
Work by Smith has been included in Going Dark: The Contemporary Figure at the Edge of Visibility, Solomon R. Guggenheim Museum, New York (2023); the 59th Venice Biennale, The Milk of Dreams (2022); the Whitney Biennial 2022: Quiet as It’s Kept (2022); Grief and Grievance: Art and Mourning in America, New Museum, New York (2021); Trigger: Gender as a Tool and a Weapon, New Museum, (2017); among others.
Elliott Hundley
14.5.24.2
2024
Encaustic, polymer clay, paper, pins, colored pencil, plastic, metal, wire, string, shells, linen and foam on panel
48 1/4 x 48 3/8 x 5 1/2 inches (122.6 x 122.9 x 14 cm)
14.5.24.2, embodies Elliott Hundley’s signature approach to collage, assembling a three-dimensional terrain of color, texture, and imagery, including images sourced from an impressive archive of magazines, books, advertisements, and Hundley’s own photo-shoots with family and friends. Fields of black, red, and teal frame the pictorial field. Meanwhile, pins embellished with colorful clay and others carrying additional flickers of collage populate and animate the canvas.
Together, they create a complicated and lush psychological landscape, encouraging imaginative associations and interpretations. Small details, echoes, and juxtapositions of color and form build into an experience both formal and conceptual.
Hundley has been included in numerous exhibitions both in the US and abroad. In October 2021 he participated in the 5th Prospect New Orleans triennial, Yesterday we said tomorrow and in 2017 the 7th Moscow International Biennale of Contemporary Art. He has been the subject of solo exhibitions including The Bacchae, Wexner Center for the Arts, Columbus, OH (2011); Nasher Sculpture Center, Dallas (2012); and Hammer Museum, Los Angeles (2006); among others.
Anish Kapoor
Untitled
1998
Aluminum and pigment
49 1/4 x 49 1/4 inches (125 x 125 cm)
Anish Kapoor
Untitled (detail)
1998
Aluminum and pigment
49 1/4 x 49 1/4 inches (125 x 125 cm)
Distinguished by a surface of deep, blue pigment, this work mixes the iconic concave disc form—for which Kapoor is especially well-known— with the memory of his 1000 Names series of the late 1970s, which assembled sculptural piles of colored pigment (inspired by the pigment markets of Mumbai) into evocative, sculptural terrains. Suspended before us, the dark orb seems to hover ambiguously, inviting and absorbing both our presence and our gaze.
Since the 1980s, Anish Kapoor (b. 1954, Mumbai, India) has been celebrated for sculptures that exploit material, volume, and color to subvert optical perception. By combining the formal tropes of minimalism with cutting-edge fabrication techniques, he has explored the metaphysical dualities of presence and absence, meaning and nothingness, the material and the immaterial.
In September 2024, the Minneapolis Institute of Art will present Anish Kapoor: Reverie and Rupture, the largest exploration in North America of the artist’s practice to date. The exhibition will travel to the Museum of Fine Arts, Houston, in summer 2025 and the High Museum of Art, Atlanta, in fall 2025. He has recently been the subject presentations at ARKEN Museum of Modern Art, Ishøj (2024), Palazzo Strozzi, Florence (2023-2024), Skulpturenpark Waldfrieden, Wuppertal (2022–2023), Centre of Polish Sculpture, Orońsko (2022–2023), and a major two-part exhibition in Venice at the historic Gallerie dell'Accademia and the Palazzo Manfrin (2022).
Kevin Beasley
The Light and the Thicket
2024
Polyurethane resin, raw Virginia cotton, Sharpie transfer, fiberglass
55 3/4 x 72 3/4 x 1 7/8 inches (141.6 x 184.8 x 4.8 cm)
Kevin Beasley
The Light and the Thicket (detail)
2024
Polyurethane resin, raw Virginia cotton, Sharpie transfer, fiberglass
55 3/4 x 72 3/4 x 1 7/8 inches (141.6 x 184.8 x 4.8 cm)
Kevin Beasley’s The Light and the Thicket pictures the grandeur of a grove of trees framed by sunlight, rendered in descriptive black at the heart of an energized orchestration of expressive, ambient color and brushstrokes. Printed atop a ground of raw Virginia cotton, this work extends Beasley’s ongoing interrogation of the landscape tradition, including the histories it variably encompasses and obscures.
Beasley often draws out the latent histories in everyday materials, connecting these pasts to the present cultural landscape. His multifaceted practice encompasses installation, sound art, performance, and drawing, as well as the use of found garments and raw cotton, which he recasts using molds, foam, and polyurethane resin. By compiling and transforming historically charged materials, Beasley investigates the iconography and history of power and race in America.
Here, Beasley achieves an image reminiscent of a traditional landscape, albeit atop a surface that is at once unconventional and commonplace. Beasley fuses the cotton and color with polyurethane resin to form a bas-relief-like structure. By transforming quotidian materials into novel, beautiful objects, Beasley draws attention to the personal and political histories that frame daily life.
Beasley recently received the prestigious 28th Heinz Award for the arts, which honors six individuals annually making exceptional contributions to the Arts, the Economy, and the Environment. Recent exhibitions and curatorial projects by the artist include Going Dark: The Contemporary Figure at the Edge of Visibility, Solomon R. Guggenheim Museum, New York (2023); A body, revealed, Hill Art Foundation, New York (2022); Prospect.5: Yesterday we said tomorrow, New Orleans (2021); Grief and Grievance: Art and Mourning in America, New Museum, New York (2021), among others.
Marilyn Minter
After Guston, #5 (Mouth)
2024
Enamel on wood panel
24 x 32 inches (61 x 81.3 cm)
After Guston #5 (Mouth), 2024 brings the viewer face-to-face with a mouth dazzlingly emblazoned with ruby-red lipstick. A close-up of fellow painter Mickalene Thomas, this new series of works departs from Minter’s usual scale to create more intimately proportioned studies that speak to and across one another as part of a dynamic suite.
By way of several pilgrimages to the traveling survey Philip Guston Now as well as more recently to a suite of works by Guston installed at The Metropolitan Museum of Art (following a donation in 2023 of 220 artworks by his daughter Musa Mayer), Minter realized that she and the great painter shared many of the same iconic, everyday touchstones, including shoes, cigarettes, paintbrushes, mouths, hands, arms, legs, and feet.
After Guston marks this recognition and makes the kinship explicit, affording Minter the space to explore and document their “alphabet,” Guston’s preferred term to summarize his own painted taxonomy of symbolic objects. The term humbly suggests the ways in which these familiar images might be endlessly remixed, arranged, and interpreted.
In her paintings and photographs, Marilyn Minter (b. 1948, Shreveport, LA) evokes and subverts the aesthetic vocabularies of Hollywood, fashion advertising, pornography, and art history, deploying these tropes to explore female sexuality, expose misogynist cultural mores, and question conventional beauty standards. Minter’s recent paintings are meticulously constructed using many layers of enamel paint. Their sensuous surfaces are often finished with a fingertip to eliminate traces of brushstrokes, producing a soft, tactile quality.
Minter has been the subject of recent solo exhibitions at Montpellier Contemporain — Panacée, Montpellier (2021); SCAD Museum of Art, Savannah College of Art and Design (2020); and a major museum retrospective titled Pretty/Dirty, which opened at the Contemporary Art Museum, Houston and traveled to the Museum of Contemporary Art, Denver; the Orange County Museum of Art, Newport Beach; and the Brooklyn Museum.
Daniel Richter
Not SO FUNKY TIMES
2024
Oil on canvas
91 3/4 x 68 1/8 inches (233 x 173 cm)
For over three decades, Daniel Richter has pioneered new styles and genres of painting. His expansive and varied oeuvre ranges from riotous abstractions to contemporary history paintings that allegorize images and narratives from news media. In his latest works, Richter transforms sketches from everyday life (“[a] child at the dentist, boys playing basketball”) into complex, energetic compositions that oscillate between figuration and abstraction.
With its playful but also foreboding title and palette, Not SO FUNKY TIMES proposes a tango of color and contour. Sky and ocean blues, a somber emerald beside lighter greens, and a pop of pure purple are bracketed by a ponderous pink blocked in from the composition’s edge. Black, yellow, red, and blue lines organize our attention and suggest bodies in motion or limbs intersecting, lending muscularity and kind of geography to the finished painting.
Daniel Richter has been the subject of solo exhibitions including Daniel Richter, curated by Dr. Nicole Fritz, Kunsthalle Tübingen (2023); Limbo, curated by Eva Meyer-Hermann, Museo Ateneo Veneto, Venice (2022); My Lunatic Neighbar, Space K Seoul (2022); Daniel Richter. Hello, I Love You, Schirn Kunsthalle, Frankfurt (2015); Daniel Richter: A Major Survey, Denver Art Museum (2008); Daniel Richter, Hamburger Kunsthalle (2007); among others. Daniel Richter: Paintings Then and Now, a new, 500-page monograph published by Hatje Cantz Verlag, constitutes the first thorough, chronological examination of Richter’s career.
Alberta Whittle
Red Sky at Night, Shepherd's Delight
2024
Acrylic with water from the Osun River, Nigeria, on linen, painted wooden frame with fretwork and beading
69 x 69 7/8 x 3 3/8 inches (175.3 x 177.5 x 8.6 cm)
Alberta’s creative practice is motivated by the desire to manifest self-compassion and collective care as key methods in battling anti-Blackness. Her multi-media practice encompasses drawing, digital collage, film, sculpture, performance, and writing, through which she develops a visual, oral, and textual language that questions accepted Western constructs of history and society. Her public presentations are often choreographed as interactive installations that speak to the site in which they are being presented while considering the historic legacies and contemporary expressions of anti-Blackness, colonialism, and migration.
Blending tender portraiture with more abstract passages and symbols, Alberta’s paintings reflect her own lived and embodied experience and desire to cultivate moments of rest, reflection, and kinship with and for others. Often built atop rich, jewel-like grounds, her paintings capture both histories and memories, including Alberta’s recent time in Nigeria, walking the same paths traversed by enslaved peoples on their way to the African coast. Through watery fields and layered, sumptuous juxtapositions, the paintings intertwine these histories with portraits of friends, family memories, and photographs—as well as dreamscapes distinguished by coastal cues or lush flora.
Alberta represented Scotland at the 2022 Venice Biennale with her exhibition deep dive (pause) uncoiling memory (2022). She will present a major exhibition, Under the skin of the ocean, the things urges us up wild, at Mount Stuart, Scotland, from June 1 through August 25, 2024. Following her Sourgrass residency this June, …Moving Beyond the Time of Salt, will open on June 21 and run through December 15, 2024 at Temporary Gallery, Cologne. Recent exhibitions include Dominique White and Alberta Whittle: Sargasso Sea, Institute of Contemporary Art, Philadelphia (2024); Alberta Whittle: between a whisper and a cry, Institute of Contemporary Art, Los Angeles (2023); create dangerously, Scottish National Gallery of Modern Art, Edinburgh (2023); among others.
Doug Aitken
tell me why you stay away?: Aperture series
2020
Chromogenic transparency on acrylic in aluminum lightbox with LEDs
46 1/4 x 46 1/4 x 7 1/2 inches (117.5 x 117.5 x 19.1 cm)
Kader Attia
A Love Story #2
2024
Limestone, wood and metal
23 5/8 x 15 3/4 x 7 7/8 inches (60 x 40 x 20 cm)
Matthew Barney
Patriot
2024
Color pencil and gouache on paper in high-density polyethylene frame
17 1/4 x 14 3/4 x 1 1/2 inches (43.8 x 37.5 x 3.8 cm)
Matthew Barney
Kill Site: State three
2018
Electroplated copper plate in copper frame
15 1/2 x 18 x 1 3/4 inches (39.4 x 45.7 x 4.4 cm)
Kevin Beasley
Site XXXVIII
2023
Polyurethane resin, raw Virginia cotton, altered housedresses, altered t-shirts, shoelaces, confetti housedresses, confetti t-shirts, fiberglass
74 1/2 x 63 1/4 x 2 inches (189.2 x 160.7 x 5.1 cm)
Kevin Beasley
Garden Window I (Lagoon)
2023
Polyurethane resin, raw Virginia cotton, Sharpie transfer, fiberglass
52 x 36 x 1 1/2 inches (132.1 x 91.4 x 3.8 cm)
Kevin Beasley
Residue XII
2023
Raw Virginia cotton, polyurethane resin, silicone rubber
21 7/8 x 15 7/8 x 1 7/8 inches (55.6 x 40.3 x 4.8 cm)
Kevin Beasley
Residue VI
2023
Raw Virginia cotton, polyurethane resin
21 7/8 x 15 7/8 x 1 3/4 inches (55.6 x 40.3 x 4.4 cm)
Kevin Beasley
The Light and the Thicket
2024
Polyurethane resin, raw Virginia cotton, Sharpie transfer, fiberglass
55 3/4 x 72 3/4 x 1 7/8 inches (141.6 x 184.8 x 4.8 cm)
Walead Beshty
(Financial Times, Tuesday 18 January 2022; Los Angeles, California) سبسي
2023
Oil pastel on newspaper
31 5/8 x 39 1/2 x 1 3/4 inches (80.3 x 100.3 x 4.4 cm)
Walead Beshty
IMMIGRATION Services 323.582.9871 2407 Randolph st., HP [The New York Times, Sunday 16 April 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
PINK SLIP LOANS CASH IN 1 HOUR 800.910.6901 SE HABLA ESPAÑOL WWW.LOAN4TITLE. COM [The New York Times, Thursday 26 October 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
TERMITES? ROACHES? Call Me: 818-212-0990 [The New York Times, Friday 10 November 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
FATHERS WE CAN HELP... CHILD SUPPORT VISITATION - CUSTODY 866-72-DADDY [The Wall Street Journal, Thursday 24 February 2022; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
FAST CASH FOR DIABETIC TEST STRIPS (323) 990-4699 [Financial Times, Wednesday 23 February 2022; Los Angeles, California]
2023
Oil pastel on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
FIX YOUR CREDIT (800) 791-6365 [Los Angeles Times, Monday 28 March 2022; Los Angeles, California]
2023
Oil pastel on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
DIVORCE & CUSTODY 909-485-9282 [Los Angeles Times, Sunday 12 June 2022; Los Angeles, California]
2023
Oil pastel, oil, and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
CREDIT REPAIR (323) 535.7289 [The New York Times, Wednesday 15 November 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
WE BUY HOUSES 626-765-5726 [The New York Times, Friday 14 April 2017; Los Angeles, California]
2023
Oil pastel, ink, prescription label and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)
Walead Beshty
Three Sided Picture (CYM), Los Angeles, California, July 22, 2019, Fujicolor Crystal Archive Super Type C
2019
Color photographic paper
40 5/8 x 30 5/8 x 1 1/2 inches (103.2 x 77.8 x 3.8 cm)
Georgia Gardner Gray
Sale
2024
Oil on canvas
56 x 48 x 1 1/4 inches (142.2 x 121.9 x 3.2 cm)
Rachel Harrison
HD Prime 1
2018
Wood, cement, acrylic and enamel
87 1/2 x 19 1/4 x 10 1/4 inches (222.3 x 48.9 x 26 cm)
Alex Hubbard
Zwangwbeglücktertum
2024
Oil, urethane, resin, fiberglass pigment on canvas
78 1/4 x 64 x 1 1/2 inches (198.8 x 162.6 x 3.8 cm)
Alex Hubbard
Sabbatarian
2024
Oil, urethane, resin, fiberglass pigment on canvas
24 1/8 x 30 1/8 x 1 1/4 inches (61.3 x 76.5 x 3.2 cm)
Elliott Hundley
Untitled
2014
Oil on panel
13 3/8 x 10 5/8 x 1 1/2 inches (34 x 27 x 3.8 cm)
Elliott Hundley
Untitled
2014
Oil on panel
13 3/8 x 13 3/8 x 1 1/2 inches (34 x 34 x 3.8 cm)
Elliott Hundley
Untitled
2014
Oil on panel
15 1/2 x 13 3/8 x 1 1/2 inches (39.4 x 34 x 3.8 cm)
Elliott Hundley
14.12.22.2
2022
Oil stick on paper
33 x 25 x 1 1/2 inches (83.8 x 63.5 x 3.8 cm)
Elliott Hundley
12.1.23.1
2023
Colored pencil and collage on paper
19 1/2 x 16 1/2 x 1 1/2 inches (49.5 x 41.9 x 3.8 cm)
Elliott Hundley
14.5.24.2
2024
Encaustic, polymer clay, paper, pins, colored pencil, plastic, metal, wire, string, shells, linen and foam on panel
48 1/4 x 48 3/8 x 5 1/2 inches (122.6 x 122.9 x 14 cm)
Elliott Hundley
14.5.24.1
2024
Encaustic, polymer clay, paper, pins, colored pencil, plastic, oil, linen, and foam on panel
48 1/2 x 48 1/4 x 5 1/2 inches (123.2 x 122.6 x 14 cm)
Sergej Jensen
Untitled
2016
Acrylic on sewn linen on acrylic on linen
21 x 33 7/8 x 1 1/4 inches (53.3 x 86 x 3.2 cm)
Liz Larner
subduction xiii (Salish Sea)
2024
Ceramic, glaze, aluminum, stainless steel, enamel paint, indigo-dyed wool and leather
25 1/4 x 36 x 6 1/8 inches (64.1 x 91.4 x 15.6 cm)
Liz Larner
Into the cracks
2023
Ceramic, glaze, oil paint, copper and brass
11 7/8 x 11 1/2 x 4 1/4 inches (30.2 x 29.2 x 10.8 cm)
Marilyn Minter
After Guston, #6 (Shoe)
2024
Enamel on metal
36 1/4 x 27 3/4 inches (92.1 x 70.5 cm)
Marilyn Minter
After Guston, #1 (Shoe)
2024
Enamel on wood panel
16 x 20 inches (40.6 x 50.8 cm)
Marilyn Minter
After Guston, #7 (Ashtray)
2024
Enamel on wood panel
20 x 20 inches (50.8 x 50.8 cm)
Marilyn Minter
After Guston, #4 (God)
2024
Enamel on wood panel
32 x 24 inches (81.3 x 61 cm)
Marilyn Minter
After Guston, #3 (Paintbrush)
2024
Enamel on metal
20 x 16 inches (50.8 x 40.6 cm)
Marilyn Minter
After Guston, #5 (Mouth)
2024
Enamel on wood panel
24 x 32 inches (61 x 81.3 cm)
Marilyn Minter
After Guston, #2 (Shoe)
2024
Enamel on wood panel
16 x 20 inches (40.6 x 50.8 cm)
Rebecca Morris
Untitled (#07-23)
2023
Oil, acrylic and spray paint on canvas over panel
11 1/2 x 13 1/4 x 1 1/8 inches (29.2 x 33.7 x 2.9 cm)
Rebecca Morris
Untitled (#204-20)
2020
Watercolor and ink on paper
25 1/8 x 19 1/4 x 1 1/2 inches (63.8 x 48.9 x 3.8 cm)
Rebecca Morris
Untitled (#236-20)
2020
Watercolor and ink on paper
25 1/8 x 19 1/4 x 1 1/2 inches (63.8 x 48.9 x 3.8 cm)
Rebecca Morris
Untitled (#306-20)
2020
Watercolor and ink on paper
25 1/8 x 19 1/4 x 1 1/2 inches (63.8 x 48.9 x 3.8 cm)
Rebecca Morris
Untitled (#322-20)
2020
Watercolor and ink on paper
25 1/8 x 19 1/4 x 1 1/2 inches (63.8 x 48.9 x 3.8 cm)
Rebecca Morris
Untitled (#04-24)
2024
Oil, acrylic and spray paint on canvas
92 1/8 x 74 x 2 1/8 inches (234 x 188 x 5.4 cm)
Aliza Nisenbaum
The Ankle Strap
2024
Oil on linen
66 x 57 x 1 1/2 inches (167.6 x 144.8 x 3.8 cm)
Catherine Opie
6th Street Bridge, 2022
2022/2024
Pigment print
31 7/8 x 81 3/4 x 2 inches (81 x 207.6 x 5.1 cm)
Catherine Opie
AB101 Demonstration, 1991
1991/2024
Pigment print
31 x 41 x 2 inches (78.7 x 104.1 x 5.1 cm)
Catherine Opie
Angela Scheirl, 1991
1991/2024
Pigment print
16 1/2 x 16 1/2 x 1 1/2 inches (41.9 x 41.9 x 3.8 cm)
Catherine Opie
Cathy, desert edge, 1987
1987/2024
Pigment print
9 3/4 x 14 1/2 x 1 1/2 inches (24.8 x 36.8 x 3.8 cm)
Catherine Opie
Christian, 1990
1990/2024
Pigment print
38 1/2 x 31 x 2 inches (97.8 x 78.7 x 5.1 cm)
Catherine Opie
Hollywood, 1990
1990/2024
Pigment print
16 1/2 x 16 1/2 x 1 1/2 inches (41.9 x 41.9 x 3.8 cm)
Catherine Opie
Medicine Cabinet, 1992
1992/2024
Pigment print
41 x 33 x 2 inches (104.1 x 83.8 x 5.1 cm)
Catherine Opie
Pam shaving, 1990
1990/2024
Pigment print
24 1/2 x 16 1/2 x 1 1/2 inches (62.2 x 41.9 x 3.8 cm)
Catherine Opie
Sultry Secrets, 1994
1994/2024
Pigment print
21 1/2 x 14 1/2 x 1 1/2 inches (54.6 x 36.8 x 3.8 cm)
Catherine Opie
Yes Ma'am, 1990
1990/2024
Pigment print
38 1/2 x 31 x 2 inches (97.8 x 78.7 x 5.1 cm)
Silke Otto-Knapp
Quartet (blue)
2007
Watercolor and gouache on canvas
23 3/4 x 31 3/4 x 1 inches (60.3 x 80.6 x 2.5 cm)
Silke Otto-Knapp
View
2019
Watercolor on paper
15 3/8 x 18 1/4 x 1 inches (39.1 x 46.4 x 2.5 cm)
Silke Otto-Knapp
Untitled
c. 2021
Watercolor on paper
10 3/4 x 13 7/8 x 1 inches (27.3 x 35.2 x 2.5 cm)
Raymond Pettibon
No Title (LA - or NY.)
1984-1998
Pen and ink on paper
10 x 16 x 1 3/8 inches (25.4 x 40.6 x 3.5 cm)
Raymond Pettibon
No Title (Moon, and its)
2007
Pen, ink, gouache, acrylic and collage on paper
19 7/8 x 13 3/4 inches (50.5 x 34.9 cm)
Raymond Pettibon
No Title (I've never gone)
1983
Pen and ink on paper
16 1/2 x 11 5/8 x 1 1/2 inches (41.9 x 29.5 x 3.8 cm)
Raymond Pettibon
No Title (Later on, upon)
1990
Pen and ink on paper
14 x 11 inches (35.6 x 27.9 cm)
Raymond Pettibon
No Title (What kind of)
1986
Pen and ink on paper
13 5/8 x 16 5/8 x 1 1/2 inches (34.6 x 42.2 x 3.8 cm)
Raymond Pettibon
No Title (The max boot)
2008
Pen, ink and gouache on paper
19 x 24 inches (48.3 x 61 cm)
Raymond Pettibon
No Title (Like a boy)
2003
Pen and ink on paper
26 1/8 x 22 1/4 inches (66.4 x 56.5 cm)
Raymond Pettibon
No Title (Another '502' for)
2006
Pen and ink on paper
18 x 24 inches (45.7 x 61 cm)
Raymond Pettibon
No Title (Nature also contains)
2011
Pen, ink and gouache on paper
74 x 48 x 2 inches (188 x 121.9 x 5.1 cm)
Raymond Pettibon
No Title (This man saiyd)
2015
Gouache, pen and ink on paper
22 1/4 x 30 1/4 inches (56.5 x 76.8 cm)
Raymond Pettibon
No Title (Let me clear)
2015
Ink, gouache, graphite, and collage on paper
52 x 38 x 1 3/4 inches (132.1 x 96.5 x 4.4 cm)
Raymond Pettibon
No Title (The professor had)
2014
Ink, goauche, and graphite on paper
22 1/8 x 29 7/8 inches (56.2 x 75.9 cm)
Raymond Pettibon
No Title (The pitcher has)
2014
Ink, gouache, graphite and acrylic on paper
22 1/4 x 30 1/4 inches (56.5 x 76.8 cm)
Raymond Pettibon
No Title (They cannot touch)
1987
Ink on paper
22 1/2 x 17 1/2 inches (57.2 x 44.5 cm)
Jack Pierson
The Boat That I Row
1995
Wood shelf with metal brackets, mirror, vase, candle, painting by Siobhan Lidell, and miscellaneous items
34 x 23 1/2 x 9 1/2 inches (86.4 x 59.7 x 24.1 cm)
Sable Elyse Smith
Coloring Book 135
2023
Screen printing ink, oil pastel, and oil stick on paper
63 1/2 x 53 1/2 x 2 1/2 inches (161.3 x 135.9 x 6.4 cm)
Sable Elyse Smith
Coloring Book 148
2024
Screen printing ink, oil stick and oil pastel on paper
63 3/8 x 53 x 2 1/2 inches (161 x 134.6 x 6.4 cm)
Sable Elyse Smith
Coloring Book 149
2024
Screen printing ink, oil pastel, and oil stick on paper
63 x 52 3/4 x 2 1/2 inches (160 x 134 x 6.4 cm) each
Wolfgang Tillmans
Escape into Space
2020
Inkjet print on paper
17 3/8 x 13 3/8 x 7/8 inches (44.1 x 34 x 2.2 cm)
Wolfgang Tillmans
Frank Ocean, Berlin, 2
2015
Inkjet print on paper mounted on aluminum in artist's frame
30 3/8 x 24 5/8 x 1 1/4 inches (77 x 62.6 x 3.2 cm)
Wolfgang Tillmans
Cézanne Bather Postcard Keithstrasse
2022
Inkjet print on paper
17 5/8 x 13 5/8 x 1 inches (44.8 x 34.6 x 2.5 cm)
Wolfgang Tillmans
basement still life
2020
Inkjet print on paper
13 3/8 x 17 3/8 x 7/8 inches (34 x 44.1 x 2.2 cm)
Wolfgang Tillmans
Lagos still life I
2022
Inkjet print on paper
13 3/8 x 17 3/8 x 7/8 inches (34 x 44.1 x 2.2 cm)
Wolfgang Tillmans
wave hitting rock II
2002
Inkjet print on paper
13 3/8 x 17 3/8 x 7/8 inches (34 x 44.1 x 2.2 cm)
Wolfgang Tillmans
Seb Street Shadows
2021
Inkjet print on paper
17 3/8 x 13 3/8 x 7/8 inches (44.1 x 34 x 2.2 cm)
Wolfgang Tillmans
Power Station (Low Clouds)
2023
Inkjet print on paper mounted on aluminum in artist's frame
30 5/8 x 37 3/4 x 1 1/4 inches (77.8 x 95.9 x 3.2 cm)
Wolfgang Tillmans
in the back
2010
Inkjet print on paper mounted on aluminum in artist's frame
28 5/8 x 37 1/2 x 1 1/4 inches (72.7 x 95.3 x 3.2 cm)
Wolfgang Tillmans
On Paper II
2022
Inkjet print on paper
13 3/8 x 17 3/8 x 7/8 inches (34 x 44.1 x 2.2 cm)
Wolfgang Tillmans
July Layers
2022
Inkjet print on paper
17 3/8 x 13 3/8 x 7/8 inches (44.1 x 34 x 2.2 cm)
Wolfgang Tillmans
Hampstead still life
2020
Inkjet print on paper mounted on aluminum in artist's frame
30 3/4 x 23 1/2 x 1 1/4 inches (78.1 x 59.7 x 3.2 cm)
Wolfgang Tillmans
Four Dahlia
2019
Inkjet print on paper
13 3/8 x 17 3/8 x 7/8 inches (34 x 44.1 x 2.2 cm)
Wolfgang Tillmans
Window Left Open
2023
Inkjet print on paper
17 3/8 x 13 3/8 x 7/8 inches (44.1 x 34 x 2.2 cm)
Gillian Wearing
Blind mirror
2023
Oil on thin board
11 3/4 x 11 3/4 x 1/8 inches (30 x 30 x .3 cm)
Gillian Wearing
Rembrandt's eyes
2023
Oil on canvas
27 x 19 x 1 1/2 inches (68.5 x 48 x 4 cm)
Gillian Wearing
Self portrait in mums dress with Manet's wall
2023
Oil on canvas
19 x 26 3/4 x 3/4 inches (48 x 68 x 2 cm)
James Welling
Figure
2020
UV-curable ink on Dibond
51 7/8 x 35 x 1 1/4 inches (133.4 x 90.5 cm)
James Welling
Parthenon. West pediment. Crowning akroterion (floral ornament)
2020
Oil pigment, electrostatic print on polyester (Winsor & Newton Artists' Oil Color, HP Color LaserJet CP5225 print on Pronto Plate)
25 1/8 x 18 7/8 x 1 1/2 inches (63.8 x 47.9 x 3.8 cm)
Alberta Whittle
Genealogies of Chosen Family (Tracian Meikle)
2024
Acrylic with water from the Osun River, Nigeria, on canvas, painted wooden frame with fretwork and lace doilies
76 1/4 x 136 x 4 1/2 inches (193.7 x 345.4 x 11.4 cm)
Alberta Whittle
Red Sky at Night, Shepherd's Delight
2024
Acrylic with water from the Osun River, Nigeria, on linen, painted wooden frame with fretwork and beading
69 x 69 7/8 x 3 3/8 inches (175.3 x 177.5 x 8.6 cm)
Sue Williams
Where the Time Goes, Truck Balls
2022
Oil on canvas
30 1/8 x 40 x 1 3/4 inches (76.5 x 101.6 x 4.4 cm)
Sue Williams
Thought Forms, The People Next Door
2022
Oil on canvas
70 x 80 inches (177.8 x 203.2 cm)
Andrea Zittel
Study for Radiating Arenas of Enhancement
2006
Gouache on paper
12 x 14 7/8 x 1 1/2 inches (30.5 x 37.8 x 3.8 cm)
Andrea Zittel
Study for Radiating Arenas of Enhancement
2006
Gouache on paper
12 x 14 7/8 x 1 1/2 inches (30.5 x 37.8 x 3.8 cm)
Andrea Zittel
Panels and Portals 10
2020
Watercolor and gouache on paper
15 3/4 x 19 1/2 x 1 1/2 inches (40 x 49.5 x 3.8 cm)
![Walead Beshty
IMMIGRATION Services 323.582.9871 2407 Randolph st., HP [The New York Times, Sunday 16 April 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/99e82ea8677aaf0a9f8eb1d1153cedcb.jpeg)
![Walead Beshty
PINK SLIP LOANS CASH IN 1 HOUR 800.910.6901 SE HABLA ESPAÑOL WWW.LOAN4TITLE. COM [The New York Times, Thursday 26 October 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/332e50c011180401e0b161806149edbc.jpeg)
![Walead Beshty
TERMITES? ROACHES? Call Me: 818-212-0990 [The New York Times, Friday 10 November 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/f1aef4f1a18ea29cb9a945da0436a4e9.jpeg)
![Walead Beshty
FATHERS WE CAN HELP... CHILD SUPPORT VISITATION - CUSTODY 866-72-DADDY [The Wall Street Journal, Thursday 24 February 2022; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/04946a11e1ea5ba2d8e4c04743b94c45.jpeg)
![Walead Beshty
FAST CASH FOR DIABETIC TEST STRIPS (323) 990-4699 [Financial Times, Wednesday 23 February 2022; Los Angeles, California]
2023
Oil pastel on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/a1f9d77076a23c924315e1bf4d962053.jpeg)
![Walead Beshty
FIX YOUR CREDIT (800) 791-6365 [Los Angeles Times, Monday 28 March 2022; Los Angeles, California]
2023
Oil pastel on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/b008b196d414682ac677c5a916e93a6d.jpeg)
![Walead Beshty
DIVORCE & CUSTODY 909-485-9282 [Los Angeles Times, Sunday 12 June 2022; Los Angeles, California]
2023
Oil pastel, oil, and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/1f41335277863b9235fd2fbdb994af83.jpeg)
![Walead Beshty
CREDIT REPAIR (323) 535.7289 [The New York Times, Wednesday 15 November 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/bbbd849d6fbf83b35bd71df27052c08b.jpeg)
![Walead Beshty
WE BUY HOUSES 626-765-5726 [The New York Times, Friday 14 April 2017; Los Angeles, California]
2023
Oil pastel, ink, prescription label and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_1800,h_1000,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/3c467f35c00fc787b7230c5c2aeaf897.jpeg)
![Walead Beshty
IMMIGRATION Services 323.582.9871 2407 Randolph st., HP [The New York Times, Sunday 16 April 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/99e82ea8677aaf0a9f8eb1d1153cedcb.jpeg)
![Walead Beshty
PINK SLIP LOANS CASH IN 1 HOUR 800.910.6901 SE HABLA ESPAÑOL WWW.LOAN4TITLE. COM [The New York Times, Thursday 26 October 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/332e50c011180401e0b161806149edbc.jpeg)
![Walead Beshty
TERMITES? ROACHES? Call Me: 818-212-0990 [The New York Times, Friday 10 November 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/f1aef4f1a18ea29cb9a945da0436a4e9.jpeg)
![Walead Beshty
FATHERS WE CAN HELP... CHILD SUPPORT VISITATION - CUSTODY 866-72-DADDY [The Wall Street Journal, Thursday 24 February 2022; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/04946a11e1ea5ba2d8e4c04743b94c45.jpeg)
![Walead Beshty
FAST CASH FOR DIABETIC TEST STRIPS (323) 990-4699 [Financial Times, Wednesday 23 February 2022; Los Angeles, California]
2023
Oil pastel on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/a1f9d77076a23c924315e1bf4d962053.jpeg)
![Walead Beshty
FIX YOUR CREDIT (800) 791-6365 [Los Angeles Times, Monday 28 March 2022; Los Angeles, California]
2023
Oil pastel on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/b008b196d414682ac677c5a916e93a6d.jpeg)
![Walead Beshty
DIVORCE & CUSTODY 909-485-9282 [Los Angeles Times, Sunday 12 June 2022; Los Angeles, California]
2023
Oil pastel, oil, and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/1f41335277863b9235fd2fbdb994af83.jpeg)
![Walead Beshty
CREDIT REPAIR (323) 535.7289 [The New York Times, Wednesday 15 November 2017; Los Angeles, California]
2023
Oil pastel and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/bbbd849d6fbf83b35bd71df27052c08b.jpeg)
![Walead Beshty
WE BUY HOUSES 626-765-5726 [The New York Times, Friday 14 April 2017; Los Angeles, California]
2023
Oil pastel, ink, prescription label and staples on newspaper
25 5/8 x 25 5/8 x 1 3/4 inches (65.1 x 65.1 x 4.4 cm)](https://img.artlogic.net/w_647,h_647,c_limit/exhibit-e/5e8e1b60a5aa2c053f8b4567/3c467f35c00fc787b7230c5c2aeaf897.jpeg)
