document

1995Artists burdensome possessions21 1/2 x 21 1/2 x 25 in.3582

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above on January 1, 1995.

China Adams (b. 1970)Glass Box #25

China Adams was born in Berkeley, California in 1970. She earned her BFA from UCLA in 1995 and went on to earn an MFA from the University of Nevada, Las Vegas in 2000. Her conceptual art works have been featured in exhibitions worldwide, including several solo shows at Ace Gallery in Los Angeles and a number of group shows in Europe.

Ranging in scope from sculpture to stylized photography, Adams’ works employ a variety of media. She often exercises traditional techniques such as papermaking and hand sewing, creating highly conceptual works that exhibit an unexpected reverence for handcrafting. In her 1996 show “The Official Stitch and Hide Procedure,” she attempted to rid herself of all extraneous possessions by enshrouding hundreds of objects in rubber-coated white cloth stitched closed with unwaxed dental floss, exemplifying a unique juxtaposition of the conceptual and the conventional. Adams has stated her work, to some degree, explores how “recognition gives meaning to or lives and helps us define ourselves.”

1992Oil and wax on canvas36 x 25 in.3583

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above on December 28, 1997.

A vanguard of the developing Los Angeles art scene in the 1970s and 80s, David Amico was born in Rochester, New York in 1951. He attended Hunter College in New York before earning his BFA from California State University, Fullerton. In 1976 he had his first show at P.S. 1 in New York. Soon after, Amico moved cross-country into a 9000 square foot space in the heart of downtown Los Angeles, where loft space was both plentiful and cheap. He used the space to host exhibitions and performances for emerging artists of the time, including T-Bone Burnett and an exhibition of Amico’s own work accompanied by a sixty-four-piece orchestra. As his notoriety as a downtown painter grew, Amico’s work was featured in several prominent exhibitions including the Los Angeles Museum of Contemporary Art’s first show in 1983 and the Newport Harbor Art Museum’s first biennial in 1984. He currently lives in Los Angeles and holds a position as an Associate Professor of Art at Claremont Graduate University. Amico’s paintings often look to the artist’s own downtown surroundings, reimagining the harsh urban environment with profound delicacy and grace. Addressing this unique interpretation he stated, “It’s always been part of what fascinated me about living downtown. We’re living in the middle of the city (with)… all the paraphernalia, clothes being hauled out onto the docks, goods and services, all of that stuff. There’s an industrial edge, patterns off of material and stuff.” Since the early 80s, his style has evolved from dramatic sketch-life figurative paintings to more abstracted works with a greater emphasis on organic form. However throughout his career, Amico has maintained his unique talent to integrate and transform the harsh realities of urban life into amazingly lyrical compositions.

David Amico (b. 1951)Gold Field

1990Oil on canvas26 1/4 x 31 in. (22 1/4 x 17 1/2 in. unframed)3675

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above on July 30, 1994.

Lawrence Carroll (b. 1954)Untitled

Lawrence Carroll is an American painter born 1954 in Melbourne Australia. He moved to Santa Monica, California with his parents in 1958. He attended Art Center College of Design in Pasadena where he studied art on a full scholarship. In 1984 Carroll moved to New York city from Los Angeles with his own family . In 1988 he had his first solo exhibition of his paintings in New York City. In 1989 he was invited by Harald Szeemann as one of 9 young American artist to participate in Szeemans international exhibition Einleuchten at the Deichtorhallen in Hamburg Germany alongside international artists such as Joseph Bueys, Bruce Nauman, Robert Ryman and others. In 1992 he was invited to participate in “documenta IX” in Kassel, Germany. Later in 1995 Carroll exhibited in the Guggenheim Museums exhibition “Material Imagination” in NYC. In 2000 he participated in “Panza, legacy of a collector” at MOCA in Los Angeles. In 2005 he participated in “50 years of documenta” in Kassel, Germany.

Carroll has exhibited widely in Europe and the United States, and is represented in the permanent collections of a number of museums and public galleries, including the Solomon R. Guggenheim Museum in New York, the Los Angeles County Museum of Art,Los Angeles, Museum of Contemporary Art, Los Angeles. Museum of Contemporary art San Diego, Jumex Collection Mexico City, MART Rovereto Italy, Panza Collection Varese, Italy, Panza Collection Sassuolo in Modena, Italy, Art Gallery of New south Wales, Sydney Australia. Stadtisches Museum Abteiberg Monchengladbach Germany and many other private and public collections worldwide.

1992Micro glass spheres in paint on canvas16 x 16 in.3587

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above on August 2, 1994.

Mary Corse (b. 1945)Black Light Painting

Mary Corse was born in Berkeley, California in 1945 and thus belonged to a later generation of Minimalists. She earned her BFA from the University of California, Santa Barbara in 1963 before earning her MFA from the Chouinard Art Institute in Los Angeles in 1968. Since then, Corse’s work has been featured in solo and group exhibitions across the country, including shows at the Solomon R. Guggenheim Museum in New York and the Museum of Contemporary Art in Los Angeles. Throughout her career Corse has been the recipient of several prestigious honors and awards, most notably a New Talent Award from the Los Angeles County Museum of Art in 1967 and the Theodoran Award from the Guggenheim Museum in 1971. Facing challenges of gender and geography, Mary Corse emerged as a significant artist of the Minimalist movement. In contrast to the stark Minimalism of the New York art scene, California Minimalism favored an exploration of light and color. Effectively keeping with the West Coast development of the Minimalist movement, Corse’s primary subject became light. Influenced by the likes of Barnett Newman, Larry Poons and Robert Irwin, Corse expressed a unique perspective on the Minimalist project through her use of tiny glass microspheres in lieu of conventional paint. Her shimmering canvases seek to reduce the elements to a dimensional expression of truth and reality.

1993Oil, ink, Asphaltum on mylar on linen on panel87 x 62 in.3594


Charles FineFieldmarks XI

1997Pencil on popsicle sticks78 in. diameter3604

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above on December 28, 1997.

Tim Hawkinson was born in San Francisco in 1960. He went on to attend San Jose State University and later earned his MFA from UCLA in 1989. A renowned contemporary artist based out of Los Angeles, Hawkinson’s work has been featured in exhibitions in the United States and abroad including the Venice Bienniale, Whitney Biennial, the Los Angeles County Museum of Art, the Whitney Museum of American Art, and the J. Paul Getty Museum.

Over the course of his nearly two-decade career, Hawkinson has garnered a reputation as one of America’s most imaginative contemporary artists. His body of work ranges from paintings and photographs to miniature sculptures made from his own fingernail clippings, but he is best known for his large-scale kinetic and sound-producing sculptures. Using ubiquitous, even store-bought materials, Hawkinson crafts intricate works that are simultaneously familiar and surprising. His work often finds inspiration in his own body, completely re-imagining conventional self-portraiture. Hawkinson’s art ultimately explores the delicate relationships of life, death, and the passage of time.

Tim Hawkinson (b. 1960)Stamtrad

1989Mixed media on paper46 x 35 in.3606


Born in 1964 in Berlin, Anton Henning dropped out of art school because he simply found it too boring. He preferred instead to train himself, quickly learning how to paint, sculpt, record videos, design environments and make music outside the confines of organized education. Henning has exhibited widely throughout Europe and his work is included in several prominent museum and private collections, though he is not well known in the United States. Today he lives and works in Manker, Germany.

Much of Anton Henning’s work can be read as a contemporary interpretation of gesamtkunstwerk, or synthesis of the various disciplines into a single dialogue. Though primarily a painter, Henning also incorporates sculpture and installation into his work. In an age dominated by the “white cube” exhibition space, Henning seeks to integrate his works of art and the environment in which they are displayed. His Oktogon installation incorporated his paintings into a manufactured interior contained within a large octagon. However he always begins his pieces explicitly with painting, often reinterpreting the classic genres and plundering art history and popular culture for subject matter. Henning’s “Interieur” paintings are complex pictorial systems of paintings within paintings that integrate the artist’s own work with cultural, art historical and biographical references. Henning’s trademark motif, the “Hennling,” an abstracted tri-lobed form, is often incorporated into the artist’s paintings. Henning’s fusion of traditional modes of art production into a single work is a distinctive development in the trajectory of contemporary art, in essence commenting on the very nature of the production and display of art.

Anton Henning (b. 1964)Untitled

1992Bone black pigment on paper41 1/2 x 53 in.3609

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above on August 5, 1998.

Jene Highstein was born in Baltimore Maryland in 1942. He earned a BA in philosophy from the University of Maryland in 1963. He completed post-graduate work in philosophy at the University of Chicago and went on to study drawing at the New York Studio School before earning his Post Graduate Degree from the Royal Academy Schools, London in 1970. In the late 1960s he turned his attention to sculpture, in which he continues to work. Highstein has received a number of awards, including four National Endowment for the Arts grants, a Guggenheim Award and a St. Gauden’s Memorial Prize. He currently lives and works in New York, where he has also taught at the New York School of Visual Arts as well as NYU.

Highstein describes his work as thinking about “a sense of existence of a thing in the world which would bring along some of the mystery of our history, our human history…our common history. Often, Highstein begins with a drawing – dense black shapes which activate large white fields of paper – which are frequently displayed with the finished sculptures. Over the course of his career, Highstein’s sculpture has experienced an evident shift from a great dependency on negative space to a focus on dimension and fullness. His sculptures focus on the essential nature of form, without distractions such as color. He has stated, “the square is an ideal form…and I don’t work with ideal forms…” Thus in comparison to many of Highstein’s minimalist contemporaries, his totemic work is uncharacteristically human and inviting, addressing the viewer’s most basic emotions.

Jene Highstein (b. 1942)Untitled

1993Resin on panel47 5/8 x 47 5/8 in.3680


Susan Hutchinson Whole Lotta Love

1998Fabric, lead sheets, scissors79 x 71 x 14 1/2 in.3681

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above on January 9, 1999

Jannis Kounellis was born in 1936 in Piraeus, Greece. He studied at an art college in Athens before attending the Accademia di Belle Arti in Rome. While still a student, he had his first solo show at the Galleria la Tartaruga in Rome in 1960. He became one of the founding figures of the Arte Povera movement, which arose in Italy during the early 1960s. The Arte Povera artists viewed themselves as political artists, visualizing the dialogue between nature and industry and playing upon the political dimensions of industrial elements. The movement countered American minimalism, which primarily focused on elemental aspects of form rather than historical or political concerns. Today, Kounellis continues to live and work in Rome.

Initially inspired by the expressionism of Jackson Pollock and Franz Kline as well as the earlier abstractions of Kazimir Malevich and Piet Mondrian, Kounellis’ paintings soon became sculptural as he incorporated found elements ranging from stone, cotton, wool and coal to bed-frames, doors and shelves. In the late 1960s he began to use live animals in his pieces, one of his best known works being the installation of eleven live horses in a gallery space. In doing so, he questioned the traditionally pristine, sterile environment of the gallery and transformed art into a living entity. Eventually people were integrated into his works, adding aspects of performance art. His works have even flirted with elements of theater and opera, emphasizing the dramatic power of our present day experience. Over the course of his nearly fifty-year career, Kounellis has adopted the idea that art should be replaced by life itself.

Jannis Kounellis (b. 1936)Untitled

1996Wire coat hangers31 1/2 x 26 in.3682


David Mach was born in Scotland in 1956, and went on to study at the Duncan Jordanstone College of Art in Dundee, Scotland and the Royal College of Art, London. Since the launch of his career in the early 1980s, David Mach has achieved international acclaim as a celebrated sculptor and installation artist. In 1988, he was nominated for the prestigious Turner Prize. In 2000 Mach took a position as Professor of Sculpture at the Royal Academy of Arts and continues to develop his innovative style with public installations and performance art.

Assemblages of mass-produced found objects often form the basis of Mach’s sculptures and installations, incorporating everything from magazines and newspapers to tires and teddy bears. Early in his career, Mach began creating representations of human and animal faces constructed out of matchsticks, with the colored match heads arranged so as to create the surface of the face. After accidentally igniting one such work, Mach will now sometimes ignite his matchstick sculptures as a sort of performance art. In addition to temporary installation pieces, Mach has recently produced permanent public works including a representation of a steam engine constructed out of 185,000 bricks near Darlington, Scotland. According to Mach, “an artist must be an ideasmonger responding to all kinds of physical locations, social and political environments, to materials, to processes, to timescales and budgets.”

David Mach (b. 1956)Flower Vase

1993-94Oil on canvas36 x 42 in.3686


John Millei was born in 1958 in Los Angeles, where he continues to live and work today. A prominent figure of the abstractionism that flowered in Los Angeles in the 1980s, Millei has exhibited extensively throughout California and the greater United States. His work has also been featured in several exhibitions worldwide.

Millei has stated, “I don’t believe in style. It is a byproduct of intent. My work changes a lot.” Though the artist frequently produces works in series, sometimes hundreds of paintings of uniform size, he engages a novel approach with each new project. Himself an avid surfer, Millei’s 2002 series, “For Surfing,” incorporates visual interpretations of the ocean’s rhythms. Another 2002 series, “The Real Life of Flowers,” is an exploration of a repeated floral motif. Millei’s exuberantly abstract paintings do not pursue figuration, but rather vacillate between geometric, organic, material and color-field practices. An artist who embraces whimsy, Millei’s works are a unique synthesis of earnest abstractionism and the artist’s palpable love of painting.

John Millei (b. 1958)Dismantling the Silence

1994Oil on linen on panel20 in. x 16 in.3690

Thomas Nozkowski was born in New Jersey in 1947. He earned his BFA from Cooper Union in New York in 1967. His work has been featured in exhibitions worldwide since the 1970s and is held in the permanent collections of several prominent American museums, including the Metropolitan Museum of Art, the Phillips Collection in Washington D.C. and the San Francisco Museum of Modern Art. In 2006 Nozkowski was awarded The Academy of Arts and Letters Merit Medal for Painting and in 2007 his work was featured at the Venice Biennale. The artist currently lives and works in New York.

Heralded as “the Chardin of contemporary abstraction” by The New Yorker, Nozkowski’s paintings carefully balance the interplay of biomorphic and geometric forms. Deliberately untitled and rather coded by number, the abstract forms maintain anonymity. Nozkowski states his “project has been to make paintings that come from things in the real world. I mean ‘things’ to be taken in the broadest way – objects, ideas, moments – and I mean ‘real world’ to be taken as broadly, including both physical and speculative realities.”

The artist has the unique ability to reinvent his style with each new canvas, as no two works are alike. Heavily influenced by the political climate of the 1960s, the artist stated, “I felt I could no longer do big paintings that were for an audience of the very institutions I then despised…I wanted to paint paintings that could lit in my friends’ rooms.” Thus Nozkowski has turned the traditionally bourgeois convention of the domestic-scaled painting into an object of political subversion.

Thomas Nozkowski (b. 1947)Untitled

199331 x 26 3/4 in. x 10 in.3692


Ron Reihel was born in the California desert but raised in the Bahamas and the Florida Keys, environments that have undoubtedly affected the artist’s aesthetic exploration of light and color. In the mid-1980s he moved back to California and studied art at Otis Parsons in Los Angeles.

Ron Reihel’s innovative sculptural pieces and photographs seek to reinterpret light and space. By using color and light sensitive materials, his works are subject to and constantly evolve with the environment around them. Thus his work is a unique juxtaposition of the artificial and organic, distilling landscapes to their simplest forms and transporting the viewer into an ever-changing alternate reality. Despite the industrial, scientific nature of Reihel’s sculptures, they seem to emanate extraordinary ethereal warmth that encourages an emotional connection with the viewer.

Ron Reihel Elutheria

1992Stained wood23 x 18 x 5 1/2 in.3694

Provenance:ACE Gallery, Los Angeles.Private collection acquired from the above.

Ross Rudel was born in Billings, Montana and earned his BA from Montana State University in 1983 before going on to earn his MFA from the University of California, Irvine in 1985. In 1993, Rudel was awarded the Regional Visual Arts Fellowship from the Western States Arts Federation. His work has been featured in exhibitions worldwide, including recent participation in “Made in California” at the Los Angeles County Museum of Art. The artist currently lives and works in Los Angeles.

From a distance, Rudel’s sculptures appear to be comprised of simple, elegant forms free of embellishment. However the descriptive surface is an essential element of the overall effect of each work, placing great importance on close viewing. It is only from up close that the subtleties of the work become apparent, highlighting Rudel’s meticulous workmanship. His wood, leather and fabric wall sculptures often call to mind abstracted bodily forms, generalizing them into lyrical compositions of organic curves.

Ross Rudel (b. 1947) Untitled #5

1976Oil, wax and wood96 x 26 x 4 in.3695


Robert Therrien was born in Chicago in 1947. He received his BFA from the Brooks Institute in Santa Barbara in 1971 and went on to earn his MFA from the University of California, Los Angeles in 1974. Over the course of his career he has exhibited worldwide, including shows at Gagosian Gallery in New York and the Los Angeles County Museum of Art. He currently lives and works in Los Angeles, having built a reputation as one of the most accomplished artists working in Southern California today.

Therrien’s unique oeuvre transforms banal elements of popular culture and everyday life into works of timeless clarity. Such works include his series of monumental tables and chairs, giant-sized stacks of pots, plates and bowls, and fifteen-foot fake beards hanging on their stands. Since the early 1990s, Therrien’s sculpture has become larger, more emphatically three-dimensional and in many cases more clearly representational. Therrien’s works seem to become intrinsic to the environment they occupy. Consequently Therrien is often an active participant in the design of his exhibitions. As curator Lynn Zelevansky observed, “Therrien’s is an art of paradox and balance…In the perfection of their proportions these sculptures suggest rationality and objectivity but their narrative associations denote interiority and personal history.”

Robert Therrien (b. 1947)Untitled (Purple Arch)

China AdamsGlass Box #251995Artists burdensome possessions15 x 15 1/2 x 15 1/2 in.3581

China AdamsGlass Box #251995Artists burdensome possessions21 1/2 x 21 1/2 x 25 in.3582

David AmicoGold Field1992Oil and wax on canvas36 x 25 in.3583

David AmicoTurnip1995Oil on canvas42 x 36 in.3584

David AmicoGreen C1990Oil on canvas36 x 25 in.3585

Lawrence CarrollUntitled1995Oil on paper26 1/4 x 31 in. (22 1/4 x 17 1/2 in. unframed)3675



Lawrence CarrollUntitled1990Oil on paper58 1/2 x 47 1/4 in. (50 x 38 1/4 in. unframed)3678

Mary CorseBlack Light Painting1989Micro glass spheres in paint on canvas36 x 36 in.3586

Mary CorseBlack Light Painting1992Micro glass spheres in paint on canvas16 x 16 in.3587

Mary CorseTriple Black Arch1991Micro glass spheres in paint on canvas24 x 60 in.3588

List of available works

Mary CorseWhite Light Painting1990Micro glass spheres in paint on canvas48 x 48 in.3589

Mary CorseWhite Light Painting1992Micro glass spheres in paint on canvas16 x 16 in.3590

Charles FineThaw IV1994Encaustic on lead38 x 25 1/4 in.3591

Charles FineFieldmarks 1993Oil, ink, Asphaltum on Mylar on linen on paper32 x 22 in. each. (diptych)3592

Charles FineHuitlacoche1992Encaustic and bee’s wax on wood19 x 11 x 3 in.3593

Charles FineFieldmarks XI1993Oil, ink, Asphaltum on Mylar on linen on panel87 x 62 in.3594

Tim HawkinsonIslamic Liturgy1992Gesso, wax, ink, shellac, on paper on board47 in. diameter3597

Tim HawkinsonPlexi glass framed clock1996Clock mechanism10 1/4 x 8 1/4 x 1 in.3598

Tim HawkinsonBlindspots Contour Photography1996Photomontage on foam core40 1/4 x 24 in.3599

Tim HawkinsonShoes1993Plaster and shoes14 x 7 x 6 in.3600

Tim HawkinsonUntitled1992Enamel on paper on wood89 x 38 in.3601

Tim HawkinsonThe Log Section1995String, cardboard and wooden picks30 1/2 in. diameter x 10 in.3602

Tim HawkinsonStamtrad1997Pencil on popsicle sticks78 in. diameter3604

Tim HawkinsonForest Ear1995Wood and mixed media72 x 48 x 2 1/2 in.3605

Anton HenningUntitled1989Mixed media on paper46 x 35 in.3606

Jene HighsteinUntitled1992Pigment and graphite on paper63 x 59 3/4 in.3607

Jene HighsteinUntitled1992Pigment and graphite on paper63 x 59 3/4 in.3608

Jene HighsteinUntitled1992Bone black pigment on paper41 1/2 x 53 in.3609

Tim HawkinsonTusk1988132 Jello molds on iron plate17 x 13 x 11 in.3603

Jene HighsteinTotem1992Dry pastel on paper50 x 38 in.3610

Susan HutchinsonSorrow Floats1995Resin and acrylic on wood panel48 x 48 in.3679

Susan HutchinsonWhole Lotta Love1993Resin on panel48 x 48 in.3680

Jannis KounellisUntitled1998Fabric, lead, sheets, scissors79 x 71 x 14 1/2 in.3681

David MachMatch HeadMatches, glue5 1/2 x 2 3/4 x 3 1/2 in.3700

David MachFlower Vase1996Wire coat hangers31 1/2 x 26 in.3682

John MilleiUntitledOil on paper24 x 27 3/4 in. (unframed)3683

John MilleiUntitledOil on paper35 5/8 x 31 5/8 in.3684

John MilleiRevised and Expanded 1993Oil on canvas36 x 42 in.3685

John MilleiDismantling the Silence 1993-94Oil on canvas36 x 42 in.3686

John MilleiOld School 1994Oil on canvas36 x 42 in.3687

John MilleiUntitled Drawing #7 1992Oil, ink, graphite on mylar66 x 48 in.3688

Thomas NozkowskiUntitled1992Oil on canvas board31 1/4 x 16 1/4 in.3689

Thomas NozkowskiUntitled1994Oil on linen on panel20 x 16 in.3690

Thomas NozkowskiUntitled1992Oil on canvas board23 1/4 x 29 1/4 in.3691

Ron ReihelElutheria199331 x 26 3/4 x 10 in.3692

Ron ReihelC199415 1/2 x 18 x 16 1/2 in.3693

Robert TherrienUntitled (Purple Arch)1976Oil, wax and wood96 x 26 x 43695

Ross RudelUntitled #51992Stained wood23 x 18 x 5 1/2 in.3694

45188 Portola Avenue Palm Desert, CA 92260 760-346-8926 www.heatherjames.com

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heart of downtown los

conceptual art works

conceptual works

ace gallery

david amico

china adams

amicos work

new york