Produced by Library Street Collective with Louis Buhl & Co., 2021
Set of 5 offset prints
61 x 91.5 cm | 24 x 36 in each 
Open edition 

There is a limit of 2 sets per person / household. These prints ship tubed and additional shipping charges may apply after checkout depending on location. Please enter full and accurate billing details when purchasing to avoid fraud alerts for your order. Perrotin reserves the right to cancel any order for any reason. 

About the project:

This series was produced on the occasion of the artist's exhibition Turning Wrenches at the Library Street Collective, Detroit (June - August 2021). 

The five offset prints feature imagery pulled from the billboards Arsham exhibited for the Library Street Collective's 2021 Public Matter project titled Fictional Advertisements. 

A nod to the Detroit automotive industry and international car culture as a whole, the billboards included in the public installation present fictional vintage advertisements for Arsham’s altered and eroded car artworks. These uncanny ads invite their viewers to purchase vehicles for their own journey into the past or the future—time travel machines that can be personally owned and managed. There is a discussion at hand about the juxtaposition of eroding human-produced objects, the tenacity of geological materials that aid in efforts toward time travel, and the overall significant role time plays in the conversation.

Silkscreen
Edition of 100
Sheet size: 50×50 cm | 19.7 x 19.7 in
Signed and numbered by the artist in graphite

©2020 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

Limit one per customer/household. This print ships flat-packaged. Perrotin reserves the right to consolidate orders into single shipments to maximize safety and efficiency. 

Produced by Porterhouse, 2021
Lithograph on FSC-certified responsibly-sourced paper
50.8 x 45.7 cm | 20 x 18 in
Edition of 500
Signed and numbered by the artist, embossed with Porterhouse seal
Comes with certificate of authenticity 

Limit of 2 per person/household. Please checkout with complete billing details to avoid fraud alerts on your order. This print does not qualify for free shipping. Additional shipping charges may apply after purchase. 

See more available from Mark Ryden here. 

All proceeds from Yuki the Young Yak benefit Creatura Wildlife, a non-profit organization devoted to the preservation of wildlife around the globe. Visit www.creaturawild.org.

Saving the Wild is a project spearheaded by the incredible conservationist Jamie Joseph. Her plan secures the only remaining elephant migration corridor in Kenya by creating sustainable beekeeping programs, which will be run by young Maasai women. This enables their financial independence while allowing the lands to remain wild. Bees are sacred in Maasai culture. This ingenious plan helps not just women, communities, elephants, and bees, but helps foster an entire holistic environmental system to the mutual benefit of all.

Produced by Perrotin, 2013
Digital print on Fine art 100% cotton paper
50 x 70 cm | 19.6 x 27.5 inches
Edition of 300, signed and numbered by the artist in graphite pencil

Xavier Veilhan, born in 1963 and currently living and working in Paris, studied successively at the École Nationale Supérieure des Art Décoratifs in Paris (1982-1983), the Hochschule der Künste (Art University) in Berlin (under Georg Baselitz) and the Centre Pompidou’s Institut des Hautes Etudes en Arts Plastiques (1989-1990), run by Pontus Hultén. Since the mid-1980s he has created an acclaimed body of works (sculpture, painting, installation, performance, video and photography) defined by his interest in both the vocabulary of modernity and classical statuary. His work pays tribute to the inventions and inventors of modernity, through a formal artistic language that mixes the codes of both industry and art. He has a long-standing interest in the often-evolving exhibition space in which the visitor becomes an actor. He nourishes his material research with regular musical collaborations with artists like the band Air, musician Sébastien Tellier or pioneer composer Eliane Radigue. A regular when it comes to projects in the public space, Xavier Veilhan has installed sculptures in various cities in France.

Produced by Perrotin, 2021
Gypsum cast by the artist with oil paint patina
25.4 x 20.3 x 2.6 cm | 10 x 8 x 1 in
Enclosed with high density foam in a custom-made box with blue hot-stamping
Edition of 25 + 5AP + 5 Proofs

Limit of 1 per person. 

About the artist:

Chicago-based artist John Henderson expands and develops an engagement with abstract painting and the conditions for its contemporary practice. Making use of a variety of technologies and techniques—molds, castings, digital printing, video, and photography—Henderson reforms, revises, and reproduces the manual painterly expression, invoking Minimalism and Abstract Expressionism while acknowledging a distance from their unmediated practice.

John Henderson has had solo exhibitions at venues including Galerie Perrotin New York, Hong Kong, and Paris; Proyectos Monclova, Mexico City; T293, Naples and Rome; Carl Kostyál, London; Peep-Hole, Milan; and the Museum of Contemporary Art Chicago. His work has been included in group exhibitions such as Per_forming a collection #3, Museo MADRE, Naples, Italy; Anamericana, American Academy in Rome; Expanded Painting, Prague Biennale 6; and Phantom Limb: Approaches to Painting Today, Museum of Contemporary Art Chicago. Henderson’s work is featured in the collections of Moderna Museet, Stockholm; the Museum of Contemporary Art Chicago; Museo Madre, Naples; and Walker Art Center, Minneapolis.

Produced by Perrotin, 2021
Offset print
50 x 65 cm | 19.7 x 25.6 in

Standard
Open edition. 

Signed
Limited edition of 100. Signed and numbered by the artist. Limit of one per household. 

Published by Perrotin, 2021
Cotton-bound hardcover, 472 pages
30 x 22.5 cm | 12 x 9 in
Essay by Kyle Chayka, Text in English 
ISBN: 9791091539265

About the book:

The ABC to XYZ of Josh Sperling (Volume A) is the artist’s first catalogue raisonné. It provides a comprehensive record of paintings produced thus far by the prolific artist Josh Sperling, featuring an accompanying essay by Kyle Chayka.

Volume A charts the evolution of the artist’s practice, beginning with Sperling's early experiments with form and material in 2013 through the solidification of his formal vocabulary in 2020. Bound in cotton canvas, the publication contains an exhaustive index of Sperling’s paintings, as well as never-before-seen archival images of the artist working in his studio in Ithaca, New York.

Produced by Kaikai Kiki, 2021
Sheet size: 58.8 x 47 cm | 23.15 x 18.5 in 
Archival Pigment Print + Silkscreen
Edition of 50 + 15AP + 15SP
Signed and numbered by the artist 

Limit of 2 per person. 

Courtesy of Kaikai Kiki:

Chiho Aoshima made her debut with a series of chromogenic prints that took advantage of her mastery of Adobe Illustrator but has since gone on to produce digital animations, sculptures, and hand-painted works. With imagery dealing mainly with Japanese yokai and graveyard spirits, she uses dialog with the extra-dimensional to explore the personal landscape of her own subconscious. Perhaps in an attempt to gather material for such works, she has lived next door to a cemetery for the past ten years.

Whether it’s cruel, catastrophic scenes of human dismemberment or nature expressing its rage in the form of natural disasters, her images are conceived in a violent array of colors and at times seem the product of a brutal mind, but are in fact her primitive response to the terrors of our world.

Published by Drawing Center, 2017
Paperback, 100 pages
22.8 x 15.25 cm | 9 x 6 in 
ISBN: 9780942324532

Studio Wall is Number 134 of the Drawing Papers, a series of publications documenting The Drawing Center's exhibitions and public programs, providing a forum for the study of drawing. 

From the publisher:

Eddie Martinez’s drawing practice blends seamlessly with his daily life as the New York-based artist carries pen and paper with him on the subway, to the doctor’s office, and to restaurants and lectures. Stylistically evocative of mid-century abstraction, Martinez’s drawings bring their own complexity, plugging a rotating cast of characters into raw, vigorously-drawn landscapes: cartoon ducks, oversized eyes, coiled snakes, and anthropomorphic blocks of color are among his itinerant motifs.

Drawing Papers 134 features many of the sketches included in the Drawing Center’s exhibition Eddie Martinez: Studio Wall. A curatorial essay by Claire Gilman and an interview with Eddie Martinez conducted by artist Katherine Bernhardt accompany installation views, and many of the large drawings and paintings included in the exhibition.

Published by Perrotin and Nahmad Contemporary, 2021
Hardcover, 333 pages
25.5 x 31 cm | 10 x 12.25 in 

"Archive 2000" Aya Takano x Kiru Made Collaboration, 2021
Hand-made to order in southeast Asia
100% 210 gsm premium cotton
Wide-body loose fit design
© Aya Takano / Kaikai Kiki Co., Ltd. All Rights Reserved 

Care Details: Do not tumble dry. Non-chlorine bleach when needed. Cool Iron only.

Sizing details:

S: Chest/Waist 19 in x Length 27 in
M: Chest/Waist 20 in x Length 29 in
L: Chest/Waist 20 in x Length 30 in
XL: Chest/Waist 22 in x Length 31 in 

Produced by Perrotin, 2021
Made in France by Cinabre
Category 1 (UNS1) face mask with silkscreen print
74% polyester, 26% cotton 
Open edition

Elmgreen & Dragset twist art display codes with a mask that mimics an artwork's exhibition label. This mask is reusable, washable up to 50 times, comes with a detailed user guide, and filters 92% of μm particles. 

Produced by the artist, 1975 - present
22.9 x 15.2 cm | 9 x 6 in
Mohawk Vellum 65lb acid-free archival paper
Crystal clear polypropylene archival slipcover
Unique in series of 450

Each Sketchbook includes a signed, original drawing in red archival ink bound directly into the book. Sketchbooks are hand numbered by the artist. Each Sketchbook is protected by an acid-free book jacket with a replica of the original drawing inside sketchbook. 

Many dozens of Barbara Nessim’s sketchbooks up to the present day, shelved
chronologically in her studio, reflect the creative traffic between her different
modes of production. Since the early 1960s, Nessim has had her sketchbooks,
as both an aesthetic sounding board and also a platform for ideating her
innovative illustration art.

Responding to the 1950s’ social pressures for women as objects of fantasy,
Nessim’s clever and insightful counter-narratives go beyond strictly conforming to feminist art’s rejection of sexualized treatments of women’s bodies. Nessim’s engagement with cultural conceptions of womanhood, female identity and conventions of beauty naturally continues into her current work.

About the artist:

Barbara Nessim (b. 1939, Bronx, NY) is an artist whose daring and prolific
work, spanning five decades, defies narrow categorization. In its broadest sense, her artistic production has straddled fine art and illustration, all the while pushing against and reshaping the boundaries of the separation between the two fields. Nessim was one of the first artists in her profession to explore and make extensive use of the computer as an artistic tool at the dawn of the computer age in the early 1980s. Nessim’s artworks have been exhibited at numerous institutions in North America, Europe, and Asia, including the Louvre, The Whitney Museum, The Cooper Hewitt Museum, The Smithsonian Institute and The Norman Rockwell Museum. Her work has graced the covers of Time, Rolling Stone, and The New York Times Magazine among others. Honors include the Pratt Lifetime Achievement Award (2015) and induction into the Society of Illustrators Hall of Fame (2020). Notable solo exhibitions include London’s Victoria & Albert Museum (2013), Bard Graduate Center Gallery (2015), and Malin Gallery (2021). The Victoria & Albert now holds eighty of Nessim’s works in their permanent collection.

 

 

Produced by the artist, 1974
Lithograph (ink roller and spatula) on BFK Rives vellum paper
Image size: 64.3 x 86.7 cm | 25 5/16 x 34 1/8 in
Sheet size: 75.5 x 104.5 cm | 29 3/4 x 41 1/8 in
Edition of 70

This lithograph is available without frame. To inquire about framing please contact storeny@perrotin.com

About the artist:

Hans Hartung achieved international recognition as a seminal figure of art informel, which arose in France during World War II. Beyond the apparent spontaneity of his distinctively bold and almost calligraphic gestural abstraction, rationalism equally informed his style, which arose out of an early interest in the relationship between aesthetics and mathematics—particularly the harmony of the golden ratio—but also out of necessity: early in his career, he meticulously squared up his successful abstract sketches in order to reproduce them on larger canvases, which he could not afford to risk losing to improvisation. The Grand International Prize for Painting, which he won at the 1960 Venice Biennale, marked a decisive turn in his practice. Hartung began improvising directly onto canvas and experimenting with new media, namely fast-drying acrylic and vinyl paints, as well as scraping and spraying techniques. The quest for balance between spontaneity and perfection remained at the core of Hartung’s painterly aesthetics until the end of his life, in 1989.