Jean‐Michel Basquiat – Beef Ribs Longhorn, 1982

Beef Ribs Longhorn, 1982
Jean‐Michel Basquiat
acrylic, oilstick, and paper collage on canvas mounted on tied wood supports
60 x 60 in. (152.4 x 152.4 cm)

Jean-Michel Basquiat – Beat Bop. Test Pressing, Version One, Volume One, 1983

Jean-Michel Basquiat
Beat Bop. Test Pressing, Version One, Volume One, 1983
Vinyl record with screenprint on the double-sided record jacket and label.
Tartown Record Co., New York, NY.
Overall 12.4″ x 12.4″ – 31.5 x 31.5 cm.

Jean-Michel Basquiat – Venus, 1982

Jean-Michel Basquiat
Venus, 1982

Xerox and acrylic on canvas
12 x 9 in. (30.5 x 22.9 cm.)
Executed in 1982
Est. 40 000 – 60 000 USD

Phillips New York

Gerhard Richter – Heiner Friedrich (nach einem Foto von Brigid Polk), 1970

Gerhard Richter
Heiner Friedrich (nach einem Foto von Brigid Polk), 1970

Offset lithograph in colors on smooth wove paper
Image: 15.75 x 12 in (40 x 31 cm)
Sheet: 16.8 x 12.4 in (42.5 x 31.5 cm)
Edition of 250
Signed, numbered, and stamped on verso


Yoko XXXV, 2012 – Don Brown

Don Brown
Yoko XXXV, 2012
Acrylic composite, gesso
130 x 35 x 27 cm

Almine Rech Gallery

Yoko XXXIV, 2012 – Don Brown

Don Brown
Yoko XXXIV, 2012
Acrylic composite, gesso
130 x 35 x 27 cm

Almine Rech Gallery

Laurent Grasso – Studies into the Past

Studies into the Past
Laurent Grasso, ADAGP, Paris 2012
Oil on oak panel
24.5 x 17.8 cm

Edouard Malingue Gallery

Irma Blank – Life Line

Irma Blank
Life Line
28 January – 18 March 2017

After Senza Parole (2013), P420 is pleased to present Life Line, a solo show by the artist Irma Blank (Celle, 1934) specifically created for the spaces of the gallery.

German by birth but residing in Italy since the late 1950s, Irma Blank lives and works in Milan. She has inherited the need to connect art and life from the avant-gardes, and especially the neo-avant-gardes of the mid-20th century. This criterion of measure emerges in Blank’s work since the end of the 1960s, in the form of silent aesthetic dedication. She has made writing the thread around which to develop and convey lengthy experience with a focus on gesture. All of Blank’s work is marked by the dialectic between writing and drawing, writing and painting. Paper, canvas, panel and book are the surfaces on which she creates and structures the relationship between sign and time; ink, ballpoint pen, watercolor, oils and acrylics are the tools Blank chooses to create the body of the work. Though always applying different approaches, the reference to writing and the space of the book is a constant in her creations, starting from the very first series of works; a writing that becomes universal, that is never to be read, but to be observed. Painting becomes reading, writing becomes image. An architecture of the unspoken and the in-between.


Wong Ping – Doggy Love

Doggy Love, 2015
Wong Ping
Single-channel video animation 5 minutes 59 seconds

Eduard Malingue Gallery

Lola Dupré

Untitled with Andrei Burcea and Irina Radulescu for 99 Percent, 2016
Lola Dupré

Paper collage on panel, 8.2 x 11.7 inches, Signed and dated on reverse, £450

Buy at

Wong Ping – Prada Raw Avenue

Prada – Raw Avenue, 2015
Wong Ping

Single channel video animation 28 seconds.

Edouard Malingue Gallery

Kader Attia – Reason’s Oxymorons, 2015

Kader Attia
Reason’s Oxymorons, 2015
18 films and installation of cubicles
duration: variable, 13 to 25 minutes
55 x 262 x 468 inches (installed overall)
139.7 x 665.5 x 1188.7 cm
Edition of 3

Lehmann Maupin

Jack – Contemporary Arts TV

Contemporary Arts TV
January 25, 2017

Summer in the North with Loredana – Beatrice Marchi

Summer in the North with Loredana by Beatrice Marchi
Hester, New York
Through February 5

George Condo – Panic Room, 2009

Panic Room, 2009
George Condo
Mixed media and collage on paper, 47 1/4 x 35 inches (120 x 88.9 cm)

Blek le Rat – Black Rat, 2005

Black Rat, 2005
Blek le Rat

Spray paint and stencil on canvas
Work: 40 x 40 x 2 cm (15.75 x 15.75 x 0.79 in)
Frame: 40 x 40 x 2 cm (15.75 x 15.75 x 0.79 in)
Stencil signed on lower right, recto; signed and numbered in black felt tip pen on verso

Buy on Paddle8

Nychos – Lepus Pellis Os Omentum (Four Works), 2014

Lepus Pellis Os Omentum (Four Works), 2014

Painted cast resin
10 x 5 x 8 in (25.4 x 12.7 x 20.32 cm) –
Dimensions apply to each


Invader – Aladdin Sane (Pinky), 2014

Aladdin Sane (Pinky), 2014

Screenprint in colors on 300gsm Somerset satin white paper
45 x 45 cm (17.72 x 17.72 in)
Edition of 65
Signed and dated in pencil on lower right, recto; numbered in pencil on lower left, recto


Mel Ramos – Gitanes Legeres


Mel Ramos
Gitanes Legeres

Mel Ramos’s provocative, humorous paintings mix idealized nude women with the imagery of popular culture—Coca Cola bottles, movie posters, and the like. A prolific artist from his emergence in the 1960s onward, Ramos has often based his nudes on the female celebrities of the day, from Marilyn Monroe to Scarlett Johansson. His style references the sensuality and glossy flatness of pin-ups and Playboy spreads and has drawn the ire of feminists and art critics alike, despite Ramos’s assertion that his works are “apolitical”. Though clearly aligned with Pop art in his appropriation of imagery from mass media and consumer products, Ramos calls his practice rooted in Surrealism and its emphasis on “absurd conjunctions”—in his case, a beautiful nude woman emerging from a Snickers wrapper or lounging seductively in a banana split.

American, b. 1935, Sacramento, California, based in Oakland, California

Grin Reaper – Banksy


Donatella Izzo – No Portrait







“No Portrait” is the new series of works by Donatella Izzo.

As opposed to a reality more and more dominated by appearance and from the exhausting search for aesthetic perfection, the artist creates a complex and introspective iconographic universe which puts her focus on the search for an anti – canon, in which the fallacious concept of imperfection is stripped from its negative connotations to acquire higher values.

“No Portrait” project will be presented for the first time in 2017 by LaBottega Gallery of Marina di Pietrasanta (LU), Italy.

Lluís Juncosa — Crab Broth, 1988

Lluís Juncosa, Crab Broth, 1988. Lluís Juncosa Archive.

Hard Gelatin
Hidden Stories from the ’80s
November 4, 2016–March 19, 2017

Museu d’Art Contemporani de Barcelona (MACBA)
Plaça dels Àngels, 1
08001 Barcelona

James Jean — Good Lord, 2016


James Jean
Good Lord, 2016
Digital, Dimensions Variable

Tommy Hilfiger’s New York Apartment — Jean-Michel Basquiat’s Untitled (Devil’s Head), 1987



Tommy Hilfiger’s New York Apartment featuring Basquiat Devil’s Head

Jean-Michel Basquiat’s Untitled (Devil’s Head), 1987, in Tommy Hilfiger’s New York apartment. The work, acrylic on canvas, is being offered at the Phillips Evening Sale of 20th Century & Contemporary Art in New York on November 16.

Blouin Artinfo

James Jean — Bouquet, 2016


James Jean
Bouquet, 2016
Acrylic on Canvas, 36 x 48″

China Mike – Beagle Knievel


Allan D’Arcangelo – American Madonna #1, 1978


Allan D’Arcangelo
American Madonna #1, 1978

Screenprint in colors on Arches paper
47 x 36 in (119.38 x 91.44 cm)
Proof outside main edition of 150
Signed, dated, and dedicated in pencil along lower edge, recto


Barbara Kruger – Savoir c’est pouvoir (from Estampes et Révolution, 200 ans après), 1989


Barbara Kruger
Savoir c’est pouvoir (from Estampes et Révolution, 200 ans après), 1989

Lithograph in colors on Arches Cover paper
Work: 36.2 x 36.2 in (91.95 x 91.95 cm)
Frame: 39 x 38.25 x 2 in (99.06 x 97.16 x 5.08 cm)
Bon à tirer proof outside main edition of 100
Signed, numbered, and dated in pencil on lower right, recto


Julio Le Parc





Julio Le Parc (b. 1928, Mendoza, Argentina) is a central and influential figure in participatory kinetic art, who has been largely overlooked in the United States, until now. Form into Action, which is the first solo museum exhibition and only comprehensive survey of the artist’s work in North America, will be presented across the Museum’s two spacious and adaptable special exhibition galleries and will feature more than 100 works produced by Le Parc between 1958 and 2013. The exhibition will explore how the artist sought to ‘demystify art’, breaking down barriers between artwork, viewer and museum.

Julio Le Parc: Form into Action

Pérez Art Museum Miami – PAMM

Julio Le Parc – La Longue Marché, Étape n° 3 (The Long March, Step n° 3), 1974.


Julio Le Parc
La Longue Marché, Étape n° 3 (The Long March, Step n° 3), 1974.


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