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Brad Tucker 11-8-8, 2020 acrylic on canvas 21 x 17 inches   ARTIST BIO Brad Tucker makes sculpture, video, works on paper and paintings that call to mind the 90s and aughts visual culture of suburban skate parks, college garage bands, and Richard Linklater’s Slaker. His work is rooted in his own unique brand of offbeat humor as well as quirky abstraction, deft language play, and raw performance. His works’ low materials such as foam and crudely painted plywood seem to invite the viewer to have as much fun as he is having, but a serious attention to art history, particularly minimalism, Fluxus, and postmodern performance, undergird and complicate his practice.   Brad Tucker earned a BFA from the University of North Texas, Denton (1991) and an MFA from the Milton Avery Graduate School of the Arts, Bard College, Annandale-on-Hudson, NY (2009). His work is included in the public collections of the Dallas Museum of Art, Dallas, TX; the Museum of Fine Arts, Houston, TX; the Menil Collection, Houston, TX; the New Museum, New York, NY; and the Plains Museum, Fargo, ND. Tucker lives and works in Austin, TX.   Submit Inquiry Below hbspt.forms.create({ region: "na1", portalId: "22383903", formId: "391f530e-59f4-4ad0-81cb-e54bea6411d6" }); ...

Janet Fish Wild Grapes and Flowers, 1988 watercolor on paper 37 x 44 1/4 inches (framed)   ARTIST BIO Janet Fish is a Contemporary realist painter of still lifes. Fish has an eye for the play of light on everyday objects, and she often includes colored glass, mirrored surfaces and plastic-wrapped food in her luminous paintings and watercolors. The artist has remarked, “The real structure of the painting comes from the movement of color and light across the entire surface.” Janet Fish earned her MFA in 1963 at Yale School of Art, where she studied under Alex Katz and alongside Chuck Close, Brice Marden, and Richard Serra. Fish was given her first solo exhibition at the Delaware Museum of Art in 1982. Today, her work can be found in the permanent collections of the Museum of Modern Art, New York, the National Gallery of Art, Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Dallas Museum of Art. The artist is based between New York and Middletown Springs, Vermont.   Submit Inquiry Below hbspt.forms.create({ region: "na1", portalId: "22383903", formId: "391f530e-59f4-4ad0-81cb-e54bea6411d6" }); ...

LILIANA PORTER To Wait, 2004 etching with hand coloring, edition of 20 21 1/4 x 19 1/4 inches (framed)   ARTIST BIO Born in Buenos Aires in 1941, Liliana Porter studied at the Escuela Nacional de Bellas Artes in Buenos Aires (1954–58) and the Universidad Iberoámericana in Mexico City (1958–61). She has lived in New York since 1964. Her diverse oeuvre comprises printmaking, works on canvas, and time-based media as well as installations and public art projects. Porter began her career as a printmaker and studied at Pratt Institute in Brooklyn in the mid-1960s, shortly after arriving in the United States. In 1964 she and Luis Camnitzer (b. 1937), her then-husband, whom she had met at Pratt, as well as the Venezuelan printmaker José Guillermo Castillo (1938–1999), founded the experimental New York Graphic Workshop, active until 1970, which promoted the destruction and disposability of the art object through the creation of FANDSO (Free, Assemblage, Nonfunctional, Disposable, Serial Object). Among her most celebrated early works was a series of photoengravings and installations of sheets of crumpled paper from the 1960s that troubled obvious distinctions between object and image and cemented Porter's reputation as an important early exponent of conceptualism. By the late 1960s, photography would replace printmaking as her primary vehicle, prompting a profound change in the character of her work over the next several decades as she increasingly employed photomontage and appropriation to question distinctions between mimetic images and their referents. Since the mid- 1980s she has created paintings, drawings, collages, videos, and photographs of kitsch and...

LILIANA PORTER Concert, 2004 etching with collage and hand-coloring, edition of 35 20 1/4 x 20 1/4 inches (framed)   ARTIST BIO Born in Buenos Aires in 1941, Liliana Porter studied at the Escuela Nacional de Bellas Artes in Buenos Aires (1954–58) and the Universidad Iberoámericana in Mexico City (1958–61). She has lived in New York since 1964. Her diverse oeuvre comprises printmaking, works on canvas, and time-based media as well as installations and public art projects. Porter began her career as a printmaker and studied at Pratt Institute in Brooklyn in the mid-1960s, shortly after arriving in the United States. In 1964 she and Luis Camnitzer (b. 1937), her then-husband, whom she had met at Pratt, as well as the Venezuelan printmaker José Guillermo Castillo (1938–1999), founded the experimental New York Graphic Workshop, active until 1970, which promoted the destruction and disposability of the art object through the creation of FANDSO (Free, Assemblage, Nonfunctional, Disposable, Serial Object). Among her most celebrated early works was a series of photoengravings and installations of sheets of crumpled paper from the 1960s that troubled obvious distinctions between object and image and cemented Porter's reputation as an important early exponent of conceptualism. By the late 1960s, photography would replace printmaking as her primary vehicle, prompting a profound change in the character of her work over the next several decades as she increasingly employed photomontage and appropriation to question distinctions between mimetic images and their referents. Since the mid- 1980s she has created paintings, drawings, collages, videos, and photographs of kitsch and...

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