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A double-sided Fernand Léger estimated between $15m to $20m leads the offering, amassed by a Dutch shipping and oil magnate and his wife
Jim hit Houston like a tornado, and in terms of my life as a working artist, the effect was dramatic and immediate.
Why appropriation? Joe Fig extends his exploration of the practice into and out of the realm of novelty. Here, he delves into the experience of the landscape of an artwork—its dimensions, positions, neighbors, and responses to light and to us, its inhabitants.
In September of 1972, Jim Harithas walked into my life and changed it forever.
In 1971, a friend hired me to photograph the Everson Museum’s newly appointed director. I’d never seen the new art museum or met an art museum director, so I was unsure what to expect. Ushered into his austere skylit corner office in the I. M. Pei-designed art museum, I stood awkwardly in front of his desk, waiting for him to look up from signing some papers on his desk. Time moved slowly. I shifted my weight from foot to foot.