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Kara Maria
She Will Hang the Night with Stars (detail), 2015
Acrylic on canvas
26 x 26 inches
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SOLD
Kara Maria
African Elephant, 2015
Acrylic on canvas
12 x 12 inches
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Kara Maria
Red Tail Hawk (detail), 2015
Acrylic on digital print on canvas
30 ½ x 46 ¼ inches
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SOLD
Wanxin Zhang
A Sculptor's Hand Out, 2016
High-fired clay with glaze
14 x 5 x 41 inches
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SOLD
Wanxin Zhang
Year of 1966, 2016
High-fired clay with glaze
12 x 5 x 61 inches
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SOLD
Wanxin Zhang
Mao with His Shadow, 2016
High-fired clay with glaze
14 x 6 x 8 inches
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SOLD
Wanxin Zhang
#26 Year's Tank Man, 2016
High-fired clay with glaze
21 x 8 x 8 inches
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Wanxin Zhang
Where is my Kingdom?, 2011
High-fired clay with glaze and decals
12 x 3 x 4 ½ inches
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Wanxin Zhang
Mao Was Artist, Too, 2010
Historic Mao from the artist’s family with glaze
12 x 4 x 4 inches
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Wanxin Zhang
Small Skull, 2002
High-fired clay with glaze and decals
6 x 3 x 4 inches
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Walter Robinson
Las Amazonas, 2008
MDF and epoxy
Each disc: 18 x 1 x 1 inches
Complete installation: 40 x 40 x 1 inches
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Chris Doyle
Stills from the video Circular Lament, 2016
Animated video
Edition of 5 + 2 AP
5:44 minutes
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Chris Doyle
Surface Tension, 2015
Single-channel video
Edition of 5 + 2 AP
Music by Jeremy Turner
7 minutes
MORE about this artworkThis video is an iteration of a 2015 public commission by Doyle at Wave Hill: A Public Garden and Cultural Center, in New York City. His dramatic installation, The Lightening, a Project for Wave HIll's Aquatic Garden, was comissioned for Wave Hill's 50th Anniversary.
Chris Doyle's videos explore the way that human anxieties and collective attitudes about the environment are projected through representations of landscape.
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Masami Teraoka
AIDS Series/Geisha in Bath, 2008
Wood block print; 48 colors 34 blocks
Edition of 75
19 ½ x 13 ½ inches
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Masami Teraoka
Molokai Lookout Point/Writing Giant Octopus Waves, 2007
Watercolor on paper
10 1/4 x 30 inches
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Masami Teraoka
Namiyo at Hanauma Bay, 1985
Key stone impression, lithograph
Edition of 150
25 x 36 inches unframed
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Masami Teraoka
Sarah and Octopus/Seventh Heaven, 2001
29 Color woodblock print on Hosho paper
Edition of 200
10 3/8 x 15 5/8 inches
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Masami Teraoka
Study for Sunset Beach, 1988
Watercolor on paper
3 x 10 ¾ inches unframed
9 ¾ x 17 inches framed
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Masami Teroka
Space Los Angeles, January 12 - February 16, 1985. New Wave Series/Tattooed Woman at Sunset Beach, 1984
Poster
24 3/4 x 17 1/2 inches
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Masami Teraoka
Hawaii Snorkel Series/Miko and Rental Snorkel, 1985
Watercolor on paper
17 1/8 x 24 3/8 inches
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Sandow Birk
Proposal for a Monument to the Free Sea from the series Imaginary Monuments, 2015
Ink on paper
60 x 42 inches unframed
64 ¼ x 46 1/16 inches framedMORE about this artworkFor the first time in this series, Birk draws upon documents from across eras and continents to portray a subject which affects countries and populations spanning the globe: the laws which govern the seas. The lighthouse in the drawing portrays the 200 word Preamble from the United Nations Convention on the Law of the Seas (UNCLOS). This document represents more than fourteen years of work and the cooperation of over 150 countries from all regions of the world, representing every political and legal system, and the spectrum of socioeconomic development. UNCLOS defines the rights and responsibilities of nations with respect to their use of the world's oceans, establishing guidelines for businesses, the environment, and the management of marine natural resources. The Convention, completed and opened for signature in 1982, replaced four 1958 treaties, and basically solidified long held, customary views of the uses of the sea. UNCLOS entered into force in 1994, a year after Guyana became the 60th nation to sign the treaty. Although the United States now recognizes UNCLOS as a codification of customary international law, it has yet to ratify it.
Fittingly, the base of the lighthouse draws from two historically important texts which, to this day, form the basis for the creation and interpretation of international and maritime law. The first text dating to the 17th century is by Dutch jurist Hugo Grotius. Grotius's 1604 treatise, De Jure Praedae Commentarius (Commentary on the Law of Prize and Booty) promoted the right of unobstructed navigation, and remains to this day one of the classic texts influencing the rule of law on the high seas. Grotius’s book on international legal doctrine, Mare Liberum (1609) is generally recognized as a paramount element in the formulation and interpretation of contemporary international law. The base of the lighthouse structure also contains a quote from President Woodrow Wilson’s speech “The Fourteen Points” given to the United States Congress in 1918, towards the end of World War I. In it, he mentions (as point 2) that the seas must be free to all nations. The “Fourteen Points” speech was the only explicit statement of war aims by any of the nations fighting in World War I, and eventually became the basis for the terms for Germany’s surrender at the end of the war.
