carriage trade
15th Anniversary Benefit Editions
Founded in 2008, for the past 15 years Carriage Trade’s programming has focused on contemporary aesthetic, social, political concerns while featuring the work of historical, established, and under-known artists.
Through combining the non-commercial mission of a non-profit, the programming flexibility of a small gallery, and the historical scope of a museum, Carriage Trade's thematic exhibitions aim to provide a broad cultural context for the artists we present while emphasizing interconnectedness and shared sensibilities evident in the relationship of their work to the theme of any given exhibition.
For Carriage Trade's 15th anniversary benefit* editions, we’ve returned to a format similar to our first benefit edition produced in 2008 (and again in 2018) with the artist and writer Dan Graham. We asked several artists who’ve contributed to past benefits to be part of this set of 15th anniversary benefit editions which are now available as well as a limited number of complete portfolios.
Peggy Ahwesh
View, Hearst Castle, 2023, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
-
Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video over the course of her career. A true bricoleur, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; The Museum of Modern Art, New York, among other venues.
From: EAI www.eai.org
-
Edition: 1-5: $800 / 6-10: $1,000 / 11-15: $1,200
Barbara Bloom
Walking the Edge, 2023, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
-
Through photography, installation, film and books, Barbara Bloom explores notions of museology, design, collecting, taste and our investment in the objects we surround ourselves with. Her gaze does not focus on single items or images, but rather on the relationships between these objects, and the inherent meaning carried by their positioning and juxtaposition. Though enthusiastically visual, Bloom’s practice is rooted more in the traditional act of literary production rather than that of painting or sculpture making. She has often compared herself—and the viewer of her work—to a detective, who is confronted with disparate clues and is asked to form a visual narrative. Her seductive use of shadows, traces, Braille, broken objects and watermarks, all demonstrate an unwavering interest in visualizing the fragile workings of memory, the ephemeral, and the absent—invisible presences activated by our gaze. She has shown extensively in group and solo shows at major international institutions including the Museum of Modern Art, Serpentine Gallery, London, Stedelijk Museum, Amsterdam, and many more. Bloom was born in Los Angeles and lives and works in New York.
From: Raffaella Cortese www.raffaellacortese.com
-
Edition: 1-5: $1,000 / 6-10: $1,200 / 11-15: $1,500
Origami Shirt, 2023, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
Canal Street Research Association
-
Canal Street Research Association was founded in 2020 in an empty storefront on Canal Street, New York’s counterfeit epicenter. Delving into the cultural and material ecologies of the street and its long history as a site that probes the limits of ownership and authorship, the association repurposes underused real estate as spaces for gathering ephemeral histories, mapping local lore, and tracing the flows and fissures of capital. They have occupied storefronts, empty office buildings, a storage unit, and most recently a basement under Canal Street. The fictional office entity is operated by Shanzhai Lyric (Ming Lin and Alex Tatarsky), a poetic research and roving archival unit that take inspiration from 山寨 (shanzhai or counterfeit) goods to examine how bootlegs use mimicry, hybridity, and permutation to both revel in and reveal the artifice of global hierarchies.
Recent presentations include MoMA PS1, Artists Space, SculptureCenter, Abrons Arts Center, Giselle’s Books, Henry Moore Institute, Amant, Canal Projects, Stuart Hall Library and Women’s Art Library.
-
Edition: 1-5: $800 / 6-10: $1,000 / 11-15: $1,200
the night I wished my regrets away … , 2018, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
Tracey Emin
-
Tracey Emin has produced a body of work that encompasses all forms of artistic expression, including painting, print-making, drawing, film, photography, installations, appliqué, sculpture and neon text. Emin’s highly autobiographical nature of her work set it apart from the general artistic trends of the 1980s and 1990s. The artist is well known for her frank, confessional style and for transforming her inner emotional and psychological world—personal experiences, memories and feelings—into art that is both intimate yet profoundly universal. Emin’s art has an immediacy and often sexually provocative attitude that firmly locates her oeuvre within the tradition of feminist discourse. The artist lives and works in between London, Margate and the South of France. In 2007, Emin represented Britain at the 52nd Venice Biennale. In 2011, she became the Royal Academy's Professor of Drawing, and in 2012, Queen Elizabeth II appointed her Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts.
From: Xavier Hufkens www.xavierhufkens.com
-
Edition: 1-5: $5,000 / 6-10: $5,500 / 11-15: $6,000
Dan Graham
New York City, Ziggurat Skyscraper, 1966-2018, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
-
Dan Graham was a leading American conceptual artist and writer. Since the late 1970s Graham created multiple pavilions for gardens and urban contexts. The adoption of architectural vocabulary, a staple element in Graham’s work, was a way of emphasizing how our environment fundamentally structures our gaze. The two-way mirror is an integral part of the pavilions, which allow light to enter the structure while protecting the privacy of those inside. In addition to the multifold play of reflection and reflexivity, this type of glass also makes us aware of the immediate past—a key notion in Graham’s work which he borrowed from Walter Benjamin and began exploring in the early 1970s through a variety of video-performances. In addition to his artistic practice Graham was also an accomplished writer and art critic. Graham’s work has exhibited extensively throughout the world in prominent institutions and exhibitions, including having participated in 3 Venice Biennales and 5 Documentas.
From: Marian Goodman www.mariangoodman.com
Untitled, 2023, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
Wade Guyton
-
Wade Guyton rose to prominence in the mid-2000s with a landmark series of abstract paintings composed of simple forms and letters printed on canvas. Running the canvas through a commercial inkjet printer, Guyton stretched the device beyond its capacity to the point of failure, embedding the limits of a digital future onto the surfaces of his paintings. In his drawings, sculptures, and installations Guyton further explores the intersection of art, design, technology, and daily life. The artist was born in Hammond, Indiana, and lives and works in New York. His work has been the subject of numerous one-person museum exhibitions including the Museum Ludwig in Cologne (2019), the Serpentine Gallery in London (2017), Le Consortium in Dijon (2016), Kunsthalle Zürich (2013), and the Whitney Museum of American Art in New York (2012).
From: Matthew Marks www.matthewmarks.com
-
Edition: 1-5: $2,250 / 6-10: $2,750 / 11-15: $3,250
Remains of the Day (benefit edition for Carriage Trade) 2022-2023, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
Louise Lawler
-
Louise Lawler is an American artist and photographer living and working in Brooklyn, NY. In many of her projects, Lawler photographs artists' works after they have left the studio, which allows her to comment on the way the art is lived with, exhibited, handled, stored, consigned, reproduced, repackaged, and/or ignored. For example, Lawler will photograph pieces hanging in private collectors' homes or in auction house showrooms waiting to be sold. She is most interested in the juxtaposition of the works with their settings more than the individual works themselves. But Lawler's closely cropped photographs also frame specific ambiguities in art's relationship to notions of longing, exchange, prestige, gender, and power. Lawler constantly mines her archives, trying to find new potential, new crops, and new relationships that could be coaxed out of source images and past work. Lawler's works are held by a number of institutions, including the Art Institute of Chicago; Centre Georges Pompidou; the Guggenheim Museum; the Los Angeles County Museum of Art; the Metropolitan Museum of Art; the Museum of Modern Art; and the Tate Modern.
From: ICP www.icp.org
-
Editions: 1-5: $2,000 / 6-10: $2,250 / 11-15: $3,000
Untitled, 2023, C-print, 24” x 20” (paper size),
Edition of 15, Signed and numbered by the artist on verso (unframed)
B. Wurtz
-
B. Wurtz is an American artist best known for his playful and compelling sculptures constructed from discarded materials like produce packaging, construction lumber, and plastic bags. Wurtz’s repurposing of everyday flotsam into joyous, humorous, and beautiful objects undermine grand artistic gesture while elevating the commonplace. The artist’s transformative amalgams of found materials have tended to coalesce around the subjects of “sleeping, eating, and keeping warm”—the foundational human needs named in his 1973 drawing Three Important Things. His work has been exhibited in museums and galleries worldwide, including the Museum of Modern Art, the Whitney Museum of American Art, and the Venice Biennale. He was awarded a Guggenheim Fellowship in 2018, and his work is included in the collections of the Museum of Modern Art, the Whitney Museum of American Art, and the Tate, among others.
From: Garth Green Gallery www.garthgreenan.com
-
Edition: 1-5: $1,000 / 6-10: $1,000 / 11-15: $1,200
15th Anniversary Portfolio
*Contact gallery for pricing and availability
Peggy Ahwesh, View, Hearst Castle, 2023, Inkjet print, 24” x 20” (paper size), Edition of 15, Signed and numbered by the artist on verso (unframed)
Barbara Bloom, Walking the Edge, 2023, C-print, 24” x 20” (paper size), Edition of 15, Signed and numbered by the artist on verso (unframed)
Canal Street Research Association, Origami Shirt, 2023, Inkjet print, 24” x 20” (paper size), Edition of 15, Signed and numbered by the artist on verso (unframed)
Tracey Emin, the night I wished my regrets away … , 2023, Inkjet print, 24” x 20” (paper size), Edition of 15, signed and numbered by the artist on verso (unframed)
Dan Graham, New York City, Ziggurat Skyscraper, 1966-2018, Digital c-print image, 24” x 20” (paper size), Edition of 15, Signed and numbered by the artist on verso (unframed)
Wade Guyton, Untitled, 2023, Inkjet print, 24” x 20” (paper size), Edition of 15, Signed and numbered by the artist on verso (unframed)
Louise Lawler, Untitled, 2023, Inkjet print, 24” x 20” (paper size), Edition of 15, Signed and numbered by the artist on verso (unframed)
B. Wurtz, Untitled, 2023, Inkjet print, 24” x 20” (paper size), Edition of 15, Signed and numbered by the artist on verso (unframed)
Carriage Trade 15th Anniversary Benefit Committee:
Anthony Allen / Paula Cooper Gallery
Francisco Correa Cordero / Lubov
Kathy Goncharov / Boca Raton Museum of Art
Eugenia Lai
Neil Logan / Neil Logan Architects
Kai Matsumiya / Kai Matsumiya Gallery
Ryan Muller / Sprüth Magers
Natacha Polaert / Off Paradise
Olivia Shao
Doug Walla / Marlborough Gallery
Carriage Trade is enormously grateful to the artists for their efforts on the production of these editions, our 15th anniversary benefit committee, as well as all the contributors to past benefits, supporters, visitors, and artists we’ve worked with over the last 15 years for helping us in our efforts to maintain a sense of community and discourse within a cultural and economic climate that can prove challenging to both.
Carriage Trade would also like to express its gratitude to Lawrence B. Benenson for his generous support of our 15th anniversary benefit portfolio, as well as gallery assistants Isabel Cunningham, Laura Li, William Tomita, and Eileen Zhou for their invaluable efforts on the production of these editions. Special thanks to the Lower Manhattan Cultural Council (LMCC), New York State Council on the Arts (NYSCA) and Mr. Jacques Louis Vidal for their vital support of our projects.