The Kitchen - Edition Portfolio 2019

The Kitchen is pleased to announce a new editions portfolio program, featuring works by five artists from their community made specifically to benefit The Kitchen. With this inaugural collection - including editions by Tony Cokes, Cy Gavin, Lynn Hershman Leeson, Virginia Overton, and Anicka Yi they hope to further their mission of supporting the production of new and innovative work from artists across disciplines.

The works are available individually at $ 2,000 each or in a portfolio of all 5 at $ 8,000.
You can order these works at The Kitchen

Tony Cokes - Untitled (from Evil.71 + The Fall of the Studio) - 2019

The print is a still drawn from Cokes’s video Evil.71 + The Fall of The Studio (2019). Always attuned to the way criticism shapes our understanding of art, Cokes borrows the depicted phrase from Leah Pires’s Art in America review of the Frankfurt Museum für Moderne Kunst’s 2019 Cady Noland retrospective.

Medium: Screenprint on cast acrylic
Size: 12 x 15 inches
Edition of 30 + 2 AP
Signed and numbered
Courtesy of the Artist and Greene Naftali, New York, and Hannah Hoffman, Los Angeles
Price: $ 2,000

Cy Gavin - Bodysuit - 2019

The work is inspired by a similar garment Gavin made for his participation in Laura Parnes’s film project Tour Without End, presented at The Kitchen in 2018. Like Gavin, Parnes seeks to make visible personal and political traumas thathaveotherwise been repressed by society. By embroidering the human body’s interior organsonto the exterior of the garment, Gavin’s jumpsuit literally embodies this “inside-out” ethos.

Medium: Twill fabric with embroidery
Chest: 44 inches; waist: 42 1/2 inches; inseam: 34 inches
Edition of 30
Courtesy of the Artist and Gavin Brown’s enterprise
Price: $ 2,000

Lynn Hershman Leeson - +multiple fACES - 2019

On the occasion of The Kitchen's 2019 Editions Portfolio Program, Lynn Hershman Leeson created this limited edition self-portrait print, recalling her groundbreaking series of black-and-white photograph collages. Hershman Leeson began that series in the 1980s, which feature objects such as cameras, binoculars, and clocks merging with posed female bodies, often contorting their limbs and obscuring their faces. With titles like Biological Clock(1986), the clock photographs in particular have been taken by critics to be a commentary on society’s habit of devaluing women after they have reached a certain age. This portrait unites several of Hershman Leeson’s long-standing artistic concerns with a relatively recent one: her own aging body.

Medium: Digital print, Hahnemuhle Photo Rag 308gsm (unframed)
Size: 8 x 10 inches
Edition of 30 + 6 AP
Signed and numbered
Courtesy of the Artist and Bridget Donahue
Price: $ 2,000

Virginia Overton - Untitled (cut-offs) - 2019

The work brings the artist's site-specific process into the interior space of the her studio, with each individuated sculpture made using scrap plywood from her own inventory. The work is comprised of two pieces of birch plywood: one acts as a stand that can be situated either behind or under the other.

Medium: Plywood and paint
Size: 4 1/2 x 24 x 4 7/8 inches
Edition of 30 + 5AP
Signed and numbered
Courtesy of the Artist and Bortolami Gallery
Price: $ 2,000

Anicka Yi - Untitled - 2019

The work, a 3D-printed form fitted with an atomizer of perfume, extends Yi’s interest in the olfactory politics of feminism. The pleasant wafts of fragrance draw the viewer in. But the gashes in the sculpture, seemingly bloodied or filled with teeth-like spikes, reveal a more ominous quality. Both inviting and menacing, the sculpture embodies the contradictory qualities that patriarchal societies often ascribe to women.