Booth A30
September 4-7, 2024
Booth A30
September 4-7, 2024
2024 marks Paula Cooper Gallery’s third participation in Frieze Seoul. The gallery’s presentation will include works by historical artists who came to prominence in the 1960s and 1970s (Carl Andre, Jennifer Bartlett, Sol LeWitt, Claes Oldenburg & Coosje van Bruggen, and Joel Shapiro) alongside paintings by previously overlooked peers (Cynthia Hawkins, Henry Taylor), as well as younger artists working in a wide range of media (Tauba Auerbach, Eric N. Mack, Paul Pfeiffer). Other highlights include a group of works at the intersection of performance and video art by Christian Marclay and Nam June Paik.
Featured artists: Carl Andre, Tauba Auerbach, Jennifer Bartlett, Sarah Charlesworth, Cynthia Hawkins, Julian Lethbridge, Sol LeWitt, Eric N. Mack, Christian Marclay, Peter Moore, Claes Oldenburg & Coosje van Bruggen, Nam June Paik, Paul Pfeiffer, Joel Shapiro, Henry Taylor, and Dan Walsh.
Carl Andre
Installation view, Carl Andre, Daegu Art Museum, Daegu,
South Korea, September 26 – December 31, 2023.
© Daegu Art Museum, 2023.
One of the foremost exponents of Minimalism, Carl Andre (b.1935, Quincy, MA, and d. 2024, New York) revolutionized sculpture with his arrangements of elemental units of matter, such as wood or metal, in simple, often geometric configurations. Andre is celebrated for his floor-bound works that depart from the traditional sculptural principles of verticality and monumentality to engage architectural space. Andre’s work has been shown extensively in important one-person and retrospective exhibitions, most recently at the Daegu Art Museum, Korea, from September 26 through December 31, 2023, which travelled to the Kawamura Memorial DIC Museum of Art, Japan, in March 2024. His work can be found in public collections including the Museum of Modern Art, New York; Hara Museum of Contemporary Art, Tokyo; the Stedelijk Museum, Amsterdam; Tate Modern, London; and the Centre Georges Pompidou, Paris.
Carl Andre
ALMEAR, 2002
4 aluminum ingots
each: 4 x 17 3/4 x 6 3/4 in. (10.2 x 45.1 x 17.1 cm)
overall: 8 3/4 x 18 x 15 in. (22.2 x 45.7 x 38.1 cm)
Tauba Auerbach
Installation view, S v Z, San Francisco Museum of Modern Art, San Francisco, CA, December 18, 2021 - May 1, 2022
Tauba Auerbach’s work (b. 1981, San Francisco, CA) contemplates structure and connectivity on the microscopic to the universal scale. Building on crafts in many disciplines, Auerbach often invents tools and techniques for inducing material behaviors. The artist’s hand is recognizable in work across a wide variety of media including painting, weaving, glass sculpture, photography, video, calligraphy and musical instrument design. Auerbach’s work is included in the collections of The Museum of Modern Art, the Whitney Museum of American Art, The Astrup Fearnley Museum of Modern Art, and the Centre Pompidou, among others. In 2021, the San Francisco Museum of Modern Art presented S v Z — a 17-year survey of Auerbach’s work. In 2023, the Fridericianum in Kassel, Germany presented TIDE, a one-person exhibition which closed in January 2024.
Tauba Auerbach
Foam, 2024
acrylic on dibond
36 x 54 x 1 in. (91.4 x 137.2 x 2.5 cm)
signed and dated verso: "Tauba Auerbach 2024"
SOLD
Tauba Auerbach
Spontaneous Lace, 2023
kiln-formed glass in aluminum armature
42 x 9 7/8 x 3/8 in. (106.7 x 25.1 x 1 cm)
Jennifer Bartlett
Installation view, Jennifer Bartlett’s Rhapsody, The Museum of Modern Art, July 1–October 9, 2023.
By the mid-1970s, Jennifer Bartlett (b. 1941, Long Beach, CA, d. 2022, New York) had emerged as a leading American artist of her time—particularly following the landmark presentation at Paula Cooper Gallery of Rhapsody (1976), Bartlett’s masterpiece, now in the collection of the Museum of Modern Art, New York. Bartlett’s first survey exhibition was held in 1985 at the Walker Art Center, Minneapolis, and traveled to the Brooklyn Museum, New York, and the Carnegie Museum of Art, Philadelphia, among others. Bartlett’s works can be found in numerous public collections including the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Los Angeles County Museum of Art; the Naoshima Museum, Japan; the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and Tate Gallery, UK.
Jennifer Bartlett
WYRBG, 1969
Testor's enamel, silkscreen, on 2 baked enamel steel plates
each: 12 x 12 in. (30.5 x 30.5 cm)
overall: 12 x 25 in. (30.5 x 63.5 cm)
signed and dated verso right plate
Sarah Charlesworth
Installation photograph, Sarah Charlesworth: Doubleworld, Los Angeles County Museum of Art, August 20, 2017–February 4, 2018
Sarah Charlesworth (b. 1947, East Orange, NJ, d. 2013, Falls Village, CT) is known for her conceptually-driven and visually alluring photo-based works. Through her exacting forms, assiduous process, and subjective interventions, Charlesworth aimed to subvert and deconstruct cultural imagery. Charlesworth’s work has been the subject of one-person exhibitions at a number of institutions, including the major survey, “Sarah Charlesworth: Doubleworld,” at the New Museum, New York (2015), which traveled to the Los Angeles County Museum of Art (2017); and a retrospective organized by SITE Santa Fe (1997), which traveled to the Museum of Contemporary Art, San Diego (1998); the National Museum of Women in the Arts, Washington, DC (1998); and the Cleveland Center for Contemporary Art (1999). Her work is in important public collections including the Museum of Modern Art, New York; the Walker Art Center, Minneapolis; the Stedelijk Van Abbemuseum, Eindhoven; and the Victoria and Albert Museum, London.
Sarah Charlesworth
Lotus Bowl, 1986
Cibachrome with lacquered wood frame
42 x 32 in. (106.7 x 81.3 cm)
AP2, Edition of 3, 3 APs estate stamp lower right, recto
SOLD
Cynthia Hawkins
Cynthia Hawkins
Clusters: Cephus, Cephus, Cephi, 2004
acrylic on canvas
50 x 40 in. (127 x 101.6 cm)
signed and dated lower right
Since 1972, Cynthia Hawkins (b. 1950, Queens, NY) has painted abstractly and in series, exploring diverse literary, philosophical, and scientific influences within a structure built on organic and geometric forms. Hawkins’s paintings utilize a highly developed vocabulary of symbols and signs to investigate color, movement, and light, and her work is dense with richly evocative meaning. In the 1970s and 1980s Hawkins was an important member of the communities surrounding the Black-owned New York galleries Just Above Midtown, Cinque Gallery and Kenkeleba Gallery, where she exhibited her work alongside artists such as David Hammons. In 2022, Hawkins was included in Just Above Midtown: Changing Spaces curated by Linda Goode Bryant at the Museum of Modern Art, New York. She has received numerous awards, including the Helen Frankenthaler Award for Painting (2023). Hawkins’ work is in numerous public collections, including The Studio Museum in Harlem, New York; The Bronx Museum of the Arts, New York; Kenkeleba Gallery, New York; The La Grange Art Museum, Georgia; and the Department of State, Washington, D.C.
Cynthia Hawkins
Clusters: Eta and Ecru Don't Live in the Same Neighborhood, 2004
acrylic on canvas
50 x 40 in. (127 x 101.6 cm)
signed and dated lower right
Julian Lethbridge
Born in Sri Lanka and raised primarily in England, Julian Lethbridge (b. 1947, Colombo) received his education at Winchester College and Cambridge University before moving to New York. Working in drawing and painting, Lethbridge creates abstract work often based on mathematical or natural principles. Methodically building up his surfaces with pigment, he then incises them with repeated patterns. In the late 1980s and early 1990s, Lethbridge limited his work to shades of black and white, mining the richness of monochromatic painting. More recently he has begun to introduce vibrant colors and more gestural brushwork into his paintings. Lethbridge’s work has been widely exhibited throughout the United States and Europe and can be found in the permanent collections of The Metropolitan Museum of Art and The Whitney Museum of American Art, New York; The Tate Gallery, London; The Art Institute of Chicago; and The National Gallery of Art, Washington D.C.
Julian Lethbridge
Untitled, 2015
oil and oil stick on linen
42 x 52 in. (106.7 x 132.1 cm)
signed, titled and dated verso: "Julian Lethbridge, Untitled, 2015"
SOLD
Sol LeWitt
Installation view of Sol LeWitt, Paula Cooper Gallery, New York, NY, September 9 – October 22, 2022.
The preeminent American artist Sol LeWitt (b. 1928, Hartford, CT, d. 2007, New York), b. 1928, Hartford, CT, d. 2007, New York), whose pioneering style defies categorization, is well-known for his wall drawings as well as his many variations of open cube structures, complex forms, and works on paper. A critical departure from the tradition of object-based art, he believed in the primacy of the idea, famously stating: “The idea becomes a machine that makes the art.” LeWitt executed his first wall drawing for Paula Cooper Galleryʼs inaugural show in 1968. In November 2008, Sol LeWitt: A Wall Drawing Retrospective opened at the Massachusetts Museum of Contemporary Art, where it will remain on view for 35 years. LeWittʼs works are in numerous public collections, including the Museum of Modern Art, the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Pompidou, Paris, the Stedelijk Museum Amsterdam, Turinʼs Castello di Rivoli, the Moderna Museet Stockholm and the Tate Gallery, London.
Sol LeWitt
Bands of Color In Four Directions, 1991
gouache on paper 19 1/4 x 19 1/4 in. (48.9 x 48.9 cm)
titled, signed and dated: "Bands of Color In Four Directions, Sol LeWitt, 1991"
Sol LeWitt
Bands of Color in Four Directions (Horizontal), 1992
gouache on paper
28.5 x 53 in. (72.4 x 134.6 cm)
Eric N. Mack
Installation view, Chronorama Redux, Palazzo Grassi, Venice, March 12, 2023 – January 7, 2024
Eric N. Mack (b. 1987, Columbia, MD) uses fabric and other found objects to create richly textured compositions that collapse the boundaries between fine art, fashion, and architecture. The artist identifies as a painter due to his preoccupation with surface, light, and material, although his works frequently move away from the walls to merge painting with sculpture. Mack received his BFA from The Cooper Union, NY and his MFA from Yale University, CT. He is the recipient of prestigious awards and residencies including the Chinati Foundation’s Artists in Residence Program (2023); the Rome Prize (2021-2022); and the Studio Museum in Harlem Residency (2014-2015). Mack’s work is in the permanent collections of Albright-Knox Art Gallery, The Studio Museum in Harlem, the Whitney Museum of American Art, and the Baltimore Museum of Art. Mack’s site-specific installation Sarong was on display at Palazzo Grassi, Venice, from March 2023 to January 2024 as part of the group exhibition Chronorama Redux.
Eric N. Mack
Not magic or nor madness, Just the elements I styled, 2023
silk scarves, embroidered wool, polyester, cotton, muslin, polyester ribbon on aluminum stretcher bar
stretcher: 40 x 30 in. (101.6 x 76.2 cm)
overall: 46 x 31 x 4 in. (116.8 x 83.8 x 10.2 cm)
signed verso
Christian Marclay
Christian Marclay
Near You (from the series ‘Imaginary Records’), 1988
altered record album cover
12 1/4 x 12 1/4 inches (30.6 x 30.6 cm)
frame: 17 x 17 x 1 1/2 in. (43.2 x 43.2 x 3.8 cm)
For nearly 40 years, Christian Marclay (b. 1955, San Rafael, CA) has been exploring the connections between vision and sound, creating works in which these two sensibilities enrich and challenge one another. Techniques of montage and collage characterize much of Marclay’s practice across video, sculpture, and works on paper, creating a remarkable sense of cohesion from disparate appropriated sources. Marclay garnered international acclaim at the 54th Venice Biennale for his masterpiece video work, The Clock, for which he received the prestigious Golden Lion award. A one-person exhibition of Marclay’s work was presented by the Museum of Contemporary Art, Tokyo, in 2021–2022, and a retrospective took place at the Centre Pompidou in 2022–2023. His work is in the public collections of the Metropolitan Museum of Art in New York; the Leeum, Samsung Museum of Art, Seoul; the Smithsonian American Art Museum, Washington D.C.; the Tate Modern, London; and the Centre Georges Pompidou, Paris, among others.
Claes Oldenburg and Coosje van Bruggen
Installation view, Spring, 2006, Cheonggyecheon Stream, Seoul, South Korea
Coosje van Bruggen (b. 1942, The Netherlands, d. 2009, Los Angeles) and Claes Oldenburg (b. 1929, Stockholm, d. 2022, New York) were a pioneering artist couple best known for their monumental public sculptures of everyday objects. Born in Sweden in 1929, Oldenburg moved to New York in 1956 and quickly became a prominent figure within the city’s avant-garde. Oldenburg was fascinated with popular culture and identified and reproduced many iconic objects, like the telephone and the hamburger, in works that uncannily transformed familiar things into strange, lively animations. His gently sagging food items and household appliances from the mid-1960s are extraordi- nary works that struck a chord with delighted audiences and remained immensely influential on future generations of artists.
With his lifelong artistic partner Coosje van Bruggen, Oldenburg planned and installed monumentally scaled sculptures in cities across the globe, including Seoul where Spring is on view at Cheonggyecheon Stream and Architect’s Handkerchief is in front of Shinsegae’s main branch. In March 2022 Oldenburg celebrated what would be the last public project of his lifetime, the installation of Plantoir, Blue, 2001–2021, at Rockefeller Center in New York.
Claes Oldenburg & Coosje van Bruggen
Golf Typhoon, First Study, 1995
cardboard, felt, sand, polyurethane foam, wood, resin, latex paint
19 3/4 x 6 x 6 in. (50.2 x 15.2 x 15.2 cm)
Claes Oldenburg & Coosje van Bruggen
Golf Bag Ruin, 1999
pencil and pastel on paper
image: 35 x 49 1/4 in. (88.9 x 125.1 cm)
frame: 39 1/8 x 53 1/2 x 2 1/2 in. (99.4 x 135.9 x 6.4 cm)
signed and dated bottom right corner, recto: "Oldenburg Co Cos 99"
Nam June Paik
Peter Moore
[On-screen portrait of Nam June Paik], October 6, 1971
black & white photograph
image: 10 1/8 x 13 3/4 in. (25.7 x 34.9 cm)
paper: 11 x 14 in. (27.9 x 35.6 cm)
frame: 15 1/2 x 18 7/8 in. (39.4 x 47.9 cm)
stamped and dated verso
Nam June Paik (b. 1932 Korea, d. 2006, Miami, FL) is internationally recognized as the “Father of Video Art” for his large body of work including video sculptures, installations, performances, videotapes and television productions. His innovative art and visionary ideas continue to inspire new generations of artists. One-person exhibitions of Paik’s work were presented M+, Hong Kong, in 2023 and the National Gallery Singapore, in 2021–2022. A major exhibition of Paik’s work organized by Tate Modern in 2020 travelled to the San Francisco Museum of Modern Art in 2021.
Nam June Paik
Dream TV, c. 1963
graphite on ivory wove paper, laid down on black card
19 3/4 x 25 5/8 in. (50.2 x 65.1 cm)
signed lower right
SOLD
Paul Pfeiffer
Known for his highly sophisticated use of digital technologies and new media, Paul Pfeiffer (b. 1966, Honolulu, HI) creates celebrated works of video, photography, and sculpture. Pfeiffer’s work was celebrated with a major survey exhibition at the Museum of Contemporary Art, Los Angeles, in 2023-2024 which will travel to the Guggenheim Bilbao in November 2024 and the Museum of Contemporary Art Chicago in June 2025. His work is in the collections of the Museum of Modern Art, New York; the Whitney Museum of Art, New York; the Guggenheim, New York; the Tate, London; and M+, Hong Kong, among others.
At Frieze Seoul 2024, the gallery will show wood-carved sculptures of pop star Justin Bieber from Pfeiffer’s Incarnator series (2018–ongoing). This series references the work of encarnadores, sculptors revered in the Philippines for their ability to create life-like representations of Catholic icons. Each iteration of the series depicts Bieber with up-to-date styling and tattoos. In the artist’s words: “I was thinking of Bieber as one of the original YouTube stars. To me he is emblematic of viral image circulation in the era of social media.”
Joel Shapiro
Since 1970, Joel Shapiro (b. 1941, New York, NY) has created work that activates and reconfigures space with his iconic vocabulary of geometric forms, shifting figural and nonreferential implications, and subtle manipulations of scale. In his recent investigations of the expressive possibility of form and color, the artist suspends elements from the ceiling, wall, and floor. He has executed more than 30 publicly-sited sculptures across Asia, Europe, and North America, and has been the subject of numerous one-person and retrospective exhibitions, including at the Whitechapel Gallery, London (1980); the Whitney Museum of American Art, New York (1982); the Stedelijk Museum, Amsterdam (1985); the Walker Art Center, Minneapolis (1995-6); the Museum Ludwig, Cologne (2011); and the Nasher Sculpture Center, Dallas (2016). Shapiro’s work can be found in international public collections including the Museum of Modern Art, the Whitney Museum of American Art, and the Metropolitan Museum of Art in New York; the Tate Gallery, London; and the Centre Georges Pompidou, Paris.
Henry Taylor
Henry Taylor (b. 1958, Ventura, CA) is a realist painter of Black life in America who manifests a deep sensitivity for his subjects across portraits of friends, political and cultural figures. Taylor has been the subject of numerous exhibitions in the United States and internationally, most recently Henry Taylor: B Side organized by the Museum of Contemporary Art LA (2022–2023) and which travelled to the Whitney Museum of American Art (2023–2024). His work is in prominent public collections including The Metropolitan Museum of Art, New York NY, Museum of Fine Art, Houston TX, Museum of Modern Art, New York NY, San Francisco Museum of Modern Art, San Francisco CA, The Studio Museum in Harlem, New York NY, and Whitney Museum of American Art, New York NY.
Dan Walsh
Dan Walsh (b. 1960, Philadelphia, PA) is a painter, printmaker, bookmaker, and sculptor. Rooted in a meditative geometry, his work explores the boundaries of abstraction through subtly irregular shapes, inconstant lines and a pervasive wit. Walsh’s work has been exhibited in venues throughout the U.S. and Europe, including the Museum of Modern Art and the New Museum, New York; The Rhode Island School of Design Art Museum, Providence; and The Musée d’Art Moderne et Contemporain, Geneva, Switzerland. He has also been included in the Lyon Biennial of Contemporary Art, France, and the Whitney Biennial, New York. In 2019, his work was the subject of a 10-year retrospective at the Bonnefantenmuseum in Maastricht. He is represented in the collections of the Museum of Modern Art, New York; the Art Institute of Chicago; the Jumex Collection, Mexico City; and the Musée d’art Moderne et Contemporain in Geneva, among other institutions.
Dan Walsh
Volley, 2023
acrylic on canvas
55 x 55 in. (139.7 x 139.7 cm)
signed, titled and dated verso: "Dan Walsh Volley 2023"