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Paddle8 launches sale with focus on Venice Biennale artists
Glenn Ligon, Study for a Negro Sunshine #15, 2010, oil stick and gesso on paper. Est. $20,000 - $25,000.


NEW YORK, NY.- In celebration of La Biennale di Venezia - 57th International Art Exhibition, Paddle8 presents a curated Post-War and Contemporary sale “The Paddle8 Pavilion” featuring artists of this year and past year’s Biennales. Live for bidding to collectors worldwide May 17-31, The Paddle8 Pavilion echoes the spirit of the Biennale embodied by this year’s theme “Viva Arte Via” by curator Christine Macel who has focused the 2017 exhibition on art and the artist as a central proposition.

The Paddle8 Pavilion features works by both established and emerging artists, encouraging collectors to explore and discover artworks with a fresh eye. Featured artists in the sale include stalwarts such as Ugo Rondinone (2007), Chris Ofili (2015), Antonio Tapies (1952 1954 1958, and represented Spain in 1993), Sol Lewitt (1976, 1980, 1988 and 1997) alongside new names such as Reena Banjaree and Fiete Solte who are among the 103 new artists featured in this year's 57th exhibition for the first time.

“The Paddle8 Pavilion was curated to be our own virtual showcase of the Biennale” states Shea Goli, Senior Specialist of Post-War & Contemporary Art at Paddle8. “Our digital platform provides global access to of-the-moment artists who are being celebrated this year, including newcomers alongside others who have shone in past exhibitions. We’re thrilled to be offering a sale that captures the spirit of the most prestigious art exhibitions to collectors worldwide.”

The Paddle8 Pavilion pays homage to the Biennale's spirit of research and discovery by highlighting artists whose work creates an open dialogue with the public, and encourages new ways of seeing and thinking. This is exemplified by Glenn Ligon’s Study for a Negro Sunshine #15 (2010), which challenges the value of language and its associated meaning in society, the barely-decipherable black letters call into question the difficulties of translation across various cultures. While, Sam Gilliam’s After Micro W (1982) demonstrates his departure from the standard, stretched canvas as he rids himself of the traditional confines of painting on a two-dimensional surface. Projecting from the wall, the work takes on a sculptural aspect; the layering and folds are only amplified by the bold swabs of color. Finally, a work by one of the central figures of conceptualist art, Lawrence Weiner’s Ou Ou Ou, (2011), challenges the very nature of art by interrogating forms of display that challenge traditional assumptions of the art object, by primarily presenting text.





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