Produced by Acria, 2017 Three-color screen print on Coventry rag paper 56 x 48 cm / 22 x 17 inches Edition of 75, signed, dated, and numbered
Proceeds benefit ACRIA: Artists Ending AIDS Fund
Mining from a range of art historical movements including symbolism, surrealism, and pop art, Emily Mae Smith’s practice often pokes at masculinity and female gender norms through her paintings. In Chekhov’s Gun, Smith presents her own interpretation of the dramatic principle Chekhov’s Gun, which states that every element in a story is essential, removing all unnecessary parts — for example a gun that appears on stage in the first act must be used in the final act.
Smith presents a beautiful blue sky, with a smoking gun in distinct pop aesthetic, surrounded by threatening white teeth; a recurrent motif that Smith describes as “a cartoon for a hyper masculine man-splain[ing] mouth—like an early 20th century tycoon, bared teeth blabbing wide.”
Archival Pigment Print on Canson Velin, Cotton Rag Paper with deckled edges
Image size: 37.3 x 30 cm | 14.7 x 11.8 in
Paper size: 46.8 x 38 cm | 18.4 x 15 in
Produced by Kaikai Kiki Co., Ltd. All Rights Reserved.
Edition of 100
Each print is signed and numbered in graphite by the artist.
Perrotin New York stocks edition numbers 7 of 100 and lower.
This print ships flat-packaged.
Takashi Murakami, who has a PhD in nihonga painting, combines the most cutting-edge techniques with the precision and virtuosity of traditional Japanese art. Inspired by manga and kawaii culture, his irresistible world is peopled by monstrous and charming characters alike, facetiously portrayed as descendants of past myths. His theory of the superflat aesthetic, which he introduced in 2001 with the trilogy exhibition he curated (the third part was titled “Little Boy,” a reference to the code name for the atomic bomb dropped on Hiroshima in 1945), attempts to blur the boundaries between popular art and high art; the superflat movement has explored the evolution of Japan’s understanding of its post-Hiroshima condition and the interrelationships between vanguard art, manga and anime, and their forerunner, ukiyo-e woodblock prints. The absence of perspective, the two-dimensionality of ancient Japanese art, filters into every medium.
Since his first monographic exhibition outside Japan in 1995 at Perrotin, Murakami has achieved recognition as one of the most prominent contemporary artists of his time, and his work has been featured in numerous solo exhibitions at museums and art institutions throughout the world.
14 color lithograph printed on Marinoni machine White BFK Rives 300 gram paper with deckled edges Edition of 180 Signed, numbered, and stamped by artist 70 x 50 cm / 27.5 x 19.7 inches
Lithograph is hinge-mounted, with spacers. Frame is white painted wood with UV plexi surface.
**This piece is available for in-store pick up from Perrotin New York only. It is the last piece in stock. Please inquire if you would like to see images of the frame.
This artwork was featured on the cover of TIME magazine published on April 16, 2020.
"I wanted to do something from the beginning of the confinement. I realized how the streets are empty, how people are questioning when and how we’re going to be able to go back to the streets. How people are looking at the street from their windows. Maybe I could just paste an image so that suddenly a sidewalk turns into something else.
Of course, the crosswalk is a beautiful thing anybody around the world can understand. We have the same 'thing' everywhere that I wanted to play with. Having an anonymous person looking through it, with eyes of hope and question and just wonder of what is going on out there.
Depending on which situation you’re in right now, this image will talk to you differently. Depending on if you’re fully confined, if you have to go to work every day, if you have to go to the hospital every day. And that’s what I wanted to create, something that speaks to all of us. Depending on our own narrative, depending on what we’re going through right now. So, for me, if I’m reading this image, I’m looking at the hope of looking at what’s happening in the street like we’re doing every day, peeking an eye through the window, of when life will come back. But, you know, someone else might see differently.
Clothbound, hardcover. Published by Perrotin, 2020.
This monograph serves as a comprehensive index following the last decade of John Henderson’s career and interest in bridging two seemingly irreconcilable pursuits: gestural expressionism and industrial production.
It includes wonderful contributing essays by Andrew Blackley (arts writer for Bomb, Cultured, etc), Vincenzo de Bellis (curator and director of programs at the Walker Art Center, Minneapolis), along with an in-depth interview between John and Kate Nesin (art historian and contemporary art curator at the Museum of Fine Arts, Boston).
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
Farhad Moshiri’s mixed-media practice spans painting, assemblage, and sculpture. Inspired by pop art and conceptualism, he has developed a profoundly hybrid aesthetics at the crossroads of the Middle East and the West. While he usually draws his motifs from American consumer culture (comics, advertising, pop music), he reinterprets them through equally clichéd traditional Persian craftsmanship. His embrace of delicate ornamental techniques, ranging from hand embroidery to calligraphy, offers an ironic and powerful contrast to his otherwise lowbrow visual references. His signature use of sparkly materials (beads, glitter, diamonds) further creates a palpable tension between the primarily figurative quality of his works and their inclination toward pure embellishment. Beneath its humorous and light appearance, Moshiri’s oeuvre takes on a slightly subversive dimension by touching upon his native country’s current transformation.
Published by Kaikai Kiki, 2019 Texts in English and Japanese Hardcover, 176 pages 27 x 20 cm / 10.6 x 7.9 inches
"I didn’t create ceramic work until I graduated from university, I was studying sculpture, which allowed me to explore all the possibilities of what I could do, and it made me discover the ceramics.”– Shigeru Otani aka Otani Workshop
Otani Workshops’ 2016 solo show with Kaikai Kiki Gallery titled “When I Was Seventeen, I Learned About Giacometti from My Art Teacher and Became Drawn to Sculpture—and So I Make Sculptures Now,” examined the historical connection between ceramics and sculptures.
Otani Workshop does not refer to a collective of artists, but to a singular, an eminently singular sculptor who has become the leading representative of Japanese ceramics. Silent and literally bulging heads, figures with their arms raised like praying figures, monumental middle fingers extended upwards, anthropomorphic vases, children, animals, soils, bronzes: Otani Workshop’s bestiary is a world in itself, a world in which dreams and tales converge as well as fantasies and daydreams, a world in which the queenly imagination and the kingly gesture triumph, in which forces and forms meet.
Produced by Parley, 2020. Created from 5 plastic bottles 43 x 39 cm / approx. 17 x 15 in
Edition of 100
Comes in a pull-out box with an informational booklet.
Bharti Kher’s oeuvre spans more than two decades and includes paintings, sculptures and installations. Throughout her practice she has displayed an unwavering relationship with surrealism, narrative, and the nature of things.
Offset poster produced by Perrotin at the occasion of the exhibition "Amadoda Akafani, Afana Ngeentshebe Zodwa" (Men are Different Though They Look Like) - February 22 - June 27, 2020, New York
Printed on matte paper 44.5 x 61 cm / 17.5 x 24 inch
Published by Galerie Perrotin, 2017 Text by Pierre Encrevé, Yasuhide Shimbata, Takahiko Okada, Takashi Wada, and a conversation between Pierre Soulages and Jean-Claude Bringuier Text in English and Japanese 19.3 x 26.3 cm / 7.5 x 10 in 244 pages, embossed, clothbound hardcover and partial dust cover
Pierre Soulages has gained international recognition as a prominent figure of both art informel, which arose in France during World War II, and abstract expressionism, its American counterpart. From the 1940s to the 1970s, black progressively conquered the surface of Soulages’s calligraphic abstract paintings, which also incorporated subtle hints of color (mainly ocher and blue). His aesthetics radically shifted toward monochrome in 1979, when he initiated his lifelong series Outrenoir. He has been known as “the painter of black and light” ever since. Literally translating as “beyond black,” Outrenoir opens onto a new realm that transcends purely gestural and monochromatic abstraction. Systematically applied in thick layers on canvas, black paint is meticulously scraped, striated, and overall sculpted to create smooth or rough areas that reflect light in various ways. By masterfully turning black into a luminous color, Soulages powerfully evokes the genesis of the world, which came out of darkness.
Edition of 100 + 10 AP Comes with certificate of authenticity Hand-blown glass recycled from Belgian beer bottle Produced by Michael Sailstorfer studio, 2018
9.06 x 4.72 x 4.72 in | 23 x 12 x 12 cm
Frequently working with recycled and found objects, Michael Sailstorfer creates assemblages and installations that alter the function of mundane items into that of artworks.
Published at the occasion of the exhibition "Misdemeanours" at the Rockbound Art Museum, Shanghai (10 jan.-20 apr. 2014) Published by the Rockbund Art Museum, 2014 Texts by Larys Frogier, Tsong-Zung Chang, Sandhini Poddar, David Elliott Texts in English and Chinese Embossed clothbound hardcover 21.5 x 27 cm / 8.4 x 7.9 inches
Bharti Kher’s oeuvre spans more than two decades and includes paintings, sculptures and installations. Throughout her practice she has displayed an unwavering relationship with surrealism, narrative, and the nature of things. Inspired by a wide range of sources and making practices, she employs the readymade in wide arc of meaning and transformation. Kher’s works thus appear to move through time, using reference as a counterpoint and contradiction as a visual tool. Her chimeras, mythical monsters, and allegorical tales combine references that are at once topical and traditional, political and poetic.
Published in 2014 by Hatje Cantz 345 pages Hardcover
Elmgreen & Dragset work at the crossroads of art and architecture, performance and installation. Preoccupied with objects and their settings, along with the discourse that can arise when those objects are radically recontextualized, Elmgreen & Dragset push against the normal modes for the display of art.
Published by Actes Sud and the Isabella Stewart Gardner Museum, 2015 Hardcover, 192 pages 5.25 x 8.25 inches 9782330048129
During his 2012 residency at the Isabella Stewart Gardner Museum, French artist Jean-Michel Othoniel (born 1964) delved into the archives of the magnificent garden that Isabella Stewart Gardner, the first American woman to graduate with a degree in horticulture, cultivated around her residence.
Othoniel examined the Museum and photographed the flowers in the tapestries, ironwork, architecture, furnishings and paintings, in such masterpieces as van Dyck's Portrait of a Woman with its innocuous rose, Piermatteo d'Amelia's Annunciation with its majestic lily and Bartolomé Bermejo's Saint Engracia with its enigmatic palm.
This gift-worthy volume presents his art-historical ABC of these flowers, from Acanthus to Zea Mays.
Text courtesy of the Isabella Stewart Gardner Museum
Produced on the occasion of the exhibition at Perrotin Tokyo, 2020 Designed by Barry McGee and Nivard Thoes Edition of 800 Softcover, 42 pages 16 x 21 cm / 6 x 8 inches
McGee’s works constitute candid and insightful observations of modern society, and his aim of actively contributing to marginalized communities has remained the same throughout his career, from his days as “Twist” (his graffiti moniker) to his current work as a global artist.
