Kyle Thomas Hemingway: The ephemera edit
An ongoing digital archive of 1,364 items (and counting) proving that I read, I saw, and I actually paid attention.
Collection
Contemporary art
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Firelei Báez, Adjusting the Moon (The right to non-imperative clarities): Waxing, 2019–2020 -
Arghavan Khosravi, Untitled, 2020 (right); The Pain, 2020 (right) -
Raqib Shaw, The Retrospective 2002–2022, 2015-2022 (background); Small Adam, 2011 (foreground) -
Bruce Yonemoto and Norman Yonemoto, Environmental, 1993 -
Julie Mehretu, Congress, 2003 -
Chris Burden, Transfixed, 1974 -
Guadalupe Maravilla, Mariposa Relámpago, 2023 -
Simone Leigh, Las Meninas, 2019 (center); Sentinel IV, 2020 -
Joseph Grigely, White Noise, 1996–2023 -
Rashid Johnson, Antoine’s Organ, 2016 -
Anish Kapoor, Shooting Into the Corner, 2008-2009 -
Ulysses, 2nd century BCE (foreground); Marc Quinn, HISTORYNOW: Shaman Triptych, BBC News, 2021 -
Anselm Kiefer, These writings, when burned, will finally give some light, 2022 -
Pedro Cabrita Reis, Field, 2022 -
Austin Ballard, Field Fold (Cardinal over Black and White Melange), 2017 (foreground); Georden West, He Is Quit, 2022 (background) -
Firelei Báez, To breathe full and free: a declaration, a re-visioning, a correction (19º36’16.9″N 72º13’07.0″W, 42° 21’48.762″ N 71º1’59.628″ W), 2021 -
Jean-Michel Basquiat, Untitled, 1983 -
“What do you hope to acquire when you bid at a prestigious evening auction at Sotheby’s? A bundle of things: a painting of course, but hopefully also a new dimension to how people see you. As Robert Lacey described it in his book about Sotheby’s, you are bidding for class, for a validation of your taste.”
