The February 23, 2014 Modern Art & Design Auction will begin tomorrow at 12 p.m. (Pacific Time). Here are some helpful tips to prepare you for Sunday’s big event.
February 23 2014 Auction
The February 23, 2014 Modern Art & Design Auction features one of the most important African-American female artists of the later half of the 20th century. Alma Thomas channeled her vision of the natural world through minimal compositions rendered in harmonious scales of color. The prismatic effect of light served as inspiration for many of her works, including a selection of five gouaches on paper from the 1970s.
The February 23, 2014 Modern Art & Design Auction will feature a rare and important Vija Celmins painting from 1964, Untitled (Ham Hock), being sold by the original owner. To commemorate this masterpiece of representational painting, arts writer Jori Finkel offers further insight into this early period in Celmins’ career.
Lari Pittman (b. 1952) paints fantastical scenarios that do not necessarily exist in a place or time. The artist instead melds allegorical symbols with representational forms to illustrate his personal experiences and beliefs. The upcoming February 23, 2014 Modern Art & Design Auction features Untitled (2000), a large canvas by the Los Angeles painter.
One of the most important Italian architects and industrial designers of the 20th century, Gio Ponti also applied his vision of Italian design to the transatlantic ocean liners that would represent a postwar Italy full of art, beauty, and history. In the upcoming February 23, 2014 Modern Art & Design Auction, Los Angeles Modern Auctions will offer two Lounge chairs from the First Class Ballroom of the modern ocean liner Augustus.
The upcoming February 23, 2014 Modern Art & Design Auction features the acrylic painting Live by the pioneering multimedia painter Sam Gilliam. Gilliam was a pivotal player in the Washington School Movement of the 1950s and 60s, and made considerable contributions to the Color Field Movement. In 1968, Sam Gilliam was the first recognized artist to stop using canvas stretchers as a means of reinforcement in favor of the solitary, painted, raw surface. In the 1970s, Gilliam was determined to work with beveled canvas stretchers to facilitate the idea of the painting as a dimensional object, resulting in the vibrant work, Live from 1972.