Produced by Social Animals, 2021
17 color lithograph printed on Marinoni machine
300 gram BFK Rives white paper
100 x 70 cm | 39.5 x 27.5 in
Edition of 180
Each is signed, stamped, and numbered by the artist

This print has a limit of 2 per person. 

From the studio:

In August 2020, the students of Kourtrajmé school developed "JUSQU'ICI TOUT VA BIEN", an exhibition in the form of a workshop at Palais de Tokyo, in Paris. As part of the exhibition, JR, who leads the art section of the school, created an installation on the museum’s facade, pasting a building of Clichy-Montfermeil through an anamorphic image.

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.

 

 

Published by Princeton University Press in association with No More Rulers, 2021
Hardcover, 152 pages
10.8 x 13.4 cm | 4.25 x 5.25 in 
Edited by Larry Warsh
Signed by the artist on cover

ISBN: 9780691217505

Limited of 2 signed copies per customer. 

Perrotin has a strict fraud policy and reserves the right to cancel orders for this reason.

From the publisher:

The work of renowned contemporary artist Daniel Arsham blurs the lines between art, architecture, archeology, and design. In his distinctive style, he takes ancient art works and objects from twentieth-century pop culture and casts sculptures of them in geological materials such as quartz or volcanic ash, colliding past, present, and future in haunted yet playful visions that prompt viewers to question their everyday surroundings. Gathered from interviews and other sources, Arsham-isms is a collection of lively, thought-provoking, and memorable quotations from this exciting young creative talent on a wide range of subjects—including art, architecture, film, design, pop culture, the art world, and what it means to be a globally recognized artist today.

Select quotations from the book:

• “Art needs to be a little dangerous.”
• “You don’t have to own the thing to be part of it.”
• “This work for me is not about progress. It is about destruction and growth and where they are able to meet in the middle.”

Produced by Perrotin x Brunch in collaboration with Gabriel Rico, 2021

Based on the artwork "I have anticipated you (The Object, constructor of the social, expelled from the social world, attributes to a transcendent world that is, how ever, not divine)"

Materials
Sole: Poly-Urethane Foam
Footbed: EVA foam
Upper Shell: Cushioned Terry Cloth 

Indoor slippers with the durability of an outdoor shoe. Machine washable. Available in Women's size 9 and Men's size 12. Comes with custom polyester, faux leather carrying bag. 

Published by Eminence Grise Editions, 2021 
Portfolio of 6 images with frame
Two-plate white ground, sugar lift and aquatint etchings printed on Rives BFK white paper. 
Printed by Marjorie Van Dyke of VanDeb Editions

Paper size: 22 x 30 in each
Frame size: 25.5 x 33 in each
Edition of 18 + 3AP + 3 HC +2PP + 1BAT

Frame description: custom white lacquer frames, hinge-mounted, with Optum UV plexi surface. Additional photos available upon request. 

This series can be purchased as a complete set or individually. To inquire about purchasing a print individually please write to storeny@perrotin.com


About the artist:

Deborah Brown received her BA summa cum laude, Phi Beta Kappa from Yale University and an MFA from Indiana University. Brown has been a visiting artist and lecturer at Penn State University, Hunter College, Pace University, Columbia University, Maryland Institute College of Art, Yale University and Art Omi.

The artist's work has been exhibited in the United States and Europe including Gavlak, Palm Beach, FL; Anna Zorina Gallery, New York; Burning in Water, New York; The Lodge, Los Angeles; Nancy Littlejohn Fine Art, Houston, TX; GEARY Contemporary, New York; Lesley Heller Gallery, New York; BravinLee programs, New York; Gallery Christoffer Egelund, Copenhagen, and Angell Gallery, Toronto. Brown's work has been reviewed in The New York Times, Artforum, Art in America, Artillery Magazine, The Wall Street Journal, Observer, ARTnews, Artnet, Juxtapoz Magazine, Galerie Magazine, Houston Chronicle, The Denver Post, Madame Figaro, Hyperallergic and ART-Das Kuntsmagazin. Brown's work is included in prestigious public collections, among them the Indianapolis Museum of Art, DeCordova Museum, Frederick R. Weisman Museum of Art, Malibu, Bass Museum of Art, Miami, Arkansas Arts Center, Little Rock, Orlando Museum of Art, Florida, The Columbia Museum of Art, South Carolina.

Produced by Potziland Records
100% cotton Daluc Standard t-shirt
Available in adult sizes: Small, Medium, Large, and Extra Large

A limited number of signed shirts are available. Signed shirts ship at random. 

About the band:
THE TETORAPOTZ is a five-man band that was born of an art exhibition. They are active primarily in the context of art museums, art projects, and art-related events. All aspects of musical, visual, stage, and record production are handled by the band members themselves, all of whom are also active independently in the visual arts.

Guitar & Vocals: Paramodel Yasuhiko Hayashi 
Bass & Vocals: Rintaro Hiramine (Mrs.Yuki)  
Guitar & Vocals: Tomomi Okubo (Mrs.Yuki)
Drums: Izumi Kato
Conch Shell Horn & Synthesizer: Takao Minami

About Izumi Kato:
Children with disturbing faces, embryos with fully developed limbs, ancestor spirits locked up in bodies with imprecise forms—the creatures summoned by Izumi Kato are as fascinating as they are enigmatic. Their anonymous silhouettes and strange faces, largely absent of features, emphasize simple forms and strong colors; their elementary representation, an oval head with two big, fathomless eyes, depicts no more than a crudely figured nose and mouth. Bringing to mind primitive arts, their expressions evoke totems and the animist belief that a spiritual force runs through living and mineral worlds alike. Embodying a primal, universal form of humanity founded less on reason than on intuition, these magical beings invite viewers to recognize themselves.

Kato graduated from the Department of Oil Painting at Musashino University in 1992. Since the 2000s, he has garnered attention as an innovative artist through exhibitions held in Japan and across the world. In 2007, he was invited to take part in the 52nd Venice Biennale International Exhibition, curated by Robert Storr.

Produced by Perrotin, 2020
5 color lithograph on BFK Rives 270 grams
Paper Sizes: 69 x 62 cm | 27.2 x 24.4 in 
Image Sizes: 59 x 48 cm | 23.2 x 18.9 in 
Edition of 75 + 5HC + 5AP
Signed, numbered, and dated by the artist 

This series is sold exclusively in sets of matching edition numbers. There is a limit of 1 set per person and household. We are currently offering set numbers 10, 11, 12, 13, and 14 of 75. 

This series is available for in-store pick up only from Perrotin locations in New York, Paris, Tokyo, Shanghai, and Seoul. Contact us at storeny@perrotin.com to inquire. 

Perrotin reserves the right to cancel any sale with fraud alerts or for lack of timely correspondence regarding the order. 

Published by Perrotin, 2020
Hardcover, 80 pages, 28 illustrations
23 x 31 cm | 9 x 12 in 
Texts by Alfred Pacquement, Camille Morando

ISBN: 9791091539227

This exhibition catalog presents a series of "Outrenoirs" by Pierre Soulages, produced between 1986 and 2018. It alternates between exhibition views, photographs of the works themselves, and details images. It is accompanied with a text by Alfred Pacquement as well as a chronology by Camille Morando. This book follows Pierre Soulages' exhibition at the Perrotin gallery in Shanghai, which was on view from November 5th to December 28th, 2019.

Edition of 50 + 15 AP

Produced by Utopia x Parley, 2020 
Created from up-cycled ocean plastic waste
Edition of 100 + 8AP
5 x 3 feet / 60 x 36 in

Featured artwork: Ondes 110 n °8, 1974

Each flag funds the removal of 20 pounds of marine plastic waste by the Parley Global Cleanup Network. Learn more about the effort at parley.tv. 

From the producer:

The oceans give us life. Join the movement to protect them from marine plastic pollution with this limited-edition artist flag made with Ocean Plastic by Parley. This flag is created from approximately five plastic bottles recovered from island communities and coastlines by our global cleanup network. Your purchase supports Parley's education and innovation projects.

Franco-Argentinian artist Julio Le Parc is a major figure in the realm of kinetic and contemporary art. In 1959, he began to create geometrical abstract paintings based on predetermined systems, and over the years expanded his practice into three dimensions. Introducing movement and light, he pioneered the active involvement of the spectator. Le Parc was a co-founder of the Groupe de Recherche d'Art Visual in 1960. He was awarded the main painting prize at the 1966 Venice Biennale and has pretend his work in numerous art institutions all over the world. As a defender of human rights, he fought against dictatorship in Latin America through numerous collective anti-fascist projects.

 

Produced by Perrotin, 2021
Offset print
53 x 40 cm | approx. 20.8 x 26 inches

Standard version: Open edition
Signed version: Limited edition of 100 with signature and numbering by the artist 

To order from Paris please visit here. 

More about the artist:

Working at the intersection of the early-twentieth-century practice of collage and the ancient art of shadow play, Jens Fänge has developed a surrealistic matryoshka-like aesthetics that consists of assembling paintings within paintings. A master of eclecticism, he incorporates—so it seems—an entire hierarchy of genres into his composite works, juxtaposing iconic portraits, still lifes, domestic interiors, cityscapes, and landscapes with geometric abstractions, all of which he renders using a variety of media and materials, including oil paint, pencil, vinyl, cardboard, and fabric on panel. The contoured, often cut-out protagonists of the artist’s refined pictorial plays appear to be drifting into these overlapping stage-like layers of representations, giving rise to an intricate, seemingly endless maze of shifting perspectives, not only within each composition but also within each series as a whole.