"9 Films" by William Kentridge.

The front of a brochure produced by the Public Art Fund about the ‘9 Drawings for Projection’ project that was produced in the summer of 2005. Made in 2003 Iris print on archival paper, from an edition of 50.  Kentridge was the subject of a major retrospective exhibition at Museum of Modern Art in New York earlier this year.  Kentridge, often ranked among the 50 most important contemporary artists in world, is a remarkably versatile artist whose work combines the political with the poetic. Dealing with subjects as sobering as apartheid, colonialism, and totalitarianism, his work is often imbued with dreamy, lyrical undertones or comedic bits of self-deprecation that render his powerful messages both alluring and ambivalent. Best known for animated films based on charcoal drawings, he also works in prints, books, collage, sculpture, and the performing arts

"September 2006" by Hannah Starkey

c-print mounted on aluminum, edition 2 of 50. Courtesy the artist and Tanya Bonakdar Gallery, New York

Hannah Starkey, whose work has been exhibited in the Tate Modern in London, has said that she likes to explore "everyday experiences and observations of inner city life from a female perspective". She does so by using generally female actors to create large-scale tableaux, in which the protagonists act out carefully staged scenarios. Her images often portray moments of quiet drama, touching upon areas of experience which are familiar but which remain unspoken or below the surface. Starkey’s narratives suggest that we have caught her characters unawares for a moment, leaving us to imagine the build-up to the incident portrayed.  This work shows the reflection of the movie poster on the curtain wall of an office building across from the billboard.

"bin fur immer duschen" by Frederic D, 2007

Ink jet prints on various plastics

Unique.

Frederic D has been experimenting for the past year with large format prints.
His radical use of plastics adds a three-dimensional quality to the medium of photography, which is normally flat. His epic portraits of friends (actors, film makers, dancers) often shot in his studio in Kreuzberg or of urban landscapes (the streets of Berlin, views of Paris from the Pompidou Centre) are collages of experiences and visual styles. “bin für immer duschen” is a portrait of ayoung girl he met at Bios, the bar where the after-party of the Athens Biennial took place, last September. He saw in the crowd of artists, curators and gallerists a face that reminded him of “Maria”. Being infatuated for years with a particular drawing by Renaissance artist Pisanello that he saw in a book (he went to Louvre in Paris to see it in the flesh) he had been subconsciously looking for contemporary Madonnas.

When he returned to Berlin, he started working on this image and decided, for the first time, to print in black and white (he normally works with color prints). The gigantic face of the Grecian girl, approximate 11' high, acquired the classic elegance
of an Old Masters painting. During installation at the art fair in Tempelhof everyone
thought it resembled the“Mona Lisa”. It was then called by art critic Birgit Rieger at
the Frankfurter Zeitung“the Mona Lisa of the 21st century”.

"The Record Covers 1949-1987" by Andy Warhol

At the outset of his career in New York, the young Andy Warhol, then unknown, offered his services to record companies by phoning them up.  He designed his first record cover in 1949.  Fifty others were to follow until 1987, tracing a little known groove in his work as an illustrator and artist.  His subjects included all of the greats of the times, including Mick Jagger, Liza Minnelli, Diana Ross and John Lennon, and
included among the covers Sticky Fingers by the Rolling Stones.

"Walking Woman" by Alberto Giacometti

Poster, Peggy Guggenheim Museum

This is a poster of a sculpture conceived in the rational and formally serene mode the artist pursued concurrently with his dark Surrealist explorations of the subconscious. The graceful, calm plaster seems to have its source in the frontal figures of ancient Egypt, posed with left feet slightly ahead of right in fearless confrontation of death. Despite the pose, Woman Walking, like its Egyptian ancestors, conveys no sense of movement. The plane of the body is only slightly inflected by the projections of breasts, belly, and thighs. The long, thin legs are smooth, solid, and columnar. In its flatness, the work evokes the traditions of the highly simplified Cycladic figure and the geometric kouros of archaic Greece.  In February 2010 a Giacometti sculpture sold for $104.3million, setting a record price for a sculpture at auction.

"Orange Canvas"

Our engineer, FanFan, has created a canvas that pays respect to the work of Yves Klein, a French conceptual artist from the 60's, who has had a major retrospective at DC's Hirshhorn Museum and Sculpture Garden in 2010.