This past summer we had the chance to place numerous works of art in various private and corporate collections. Here are a few of the artists that were selected along with some other contemporary art stars that we love...
Kadar Brock, peace in the purple void, a vortex, necron, 99 rides again, 2018
Oil, acrylic, flashe, spray paint, and house paint on canvas
Kadar Brock's paintings are full of holes; they are sanded and worn out. Brock's surfaces even seem to have been acid washed, gradually eroded or perhaps fiercely sand blasted, and simultaneously shredded as if struck by an explosion of shrapnel. For Kadar Brock, destruction and creation are equally important. The New York-based artist is best known for his unorthodox approach to abstract painting, in which he creates frenetic, gestural images and then renders them unrecognizable with the help of a razor blade and a power sander. 
Kadar Brock, cat's in the car, car's in traffic, hang in there, hang in there, 2018 
Oil, acrylic, flashe, spray paint, and house paint on canvas
Brock distresses and redefines his "failed paintings," older works from a series of drip paintings he created with brightly colored squirts of paint. He avoids the artistic decisions the canvas traditionally demands and revels in the potential an artwork has to fail and be revitalized, even if it comes dangerously close to the point of destruction. The iconic holes happen in the first stage of undoing. After the initial painting is dried, it gets stretched and Brock begins scraping off as much of the impasto as possible. Sometimes the razor blade gets caught so the holes are not punctures or gestures; rather they are residuals of the process.
Steven Charles, seonanonhainbyfinianonhain,1999
Enamel, acrylic and ink on canvas
Steven Charles decided to devote his life to painting at 13 and has been pursuing this passion since the mid-1990s. He works intuitively, often starting with a single mark, like a drip or splash of pigment, and then adds such mixed materials as fur or glitter, from which he builds up his compositions. 
Steven Charles, blanwhchtr, 2016, Acrylic on wood
Ranging from small to large-scale, his works possess thick surfaces that burst with color, pattern, and gesture. For his small-scale pieces, he works often on found scraps of wood whose shapes dictate the scope of his compositions. His large-scale works can take him up to three years to complete. In all of them, Charles aims to reflect his high-energy and enthusiastic approach to painting and life.
Daniel Buren's latest Tondi works are a series of situated pieces composed of steel, multi-colored acrylic, mirror, and white 8.7 cm stripes. The Tondi were initially exhibited at Le Centquatre-Paris in France in 2015, and subsequently at the Museo de Arte Moderno in Bogota, Colombia, in 2017. Currently they are on view in a new exhibition at Bortolami Gallery in New York City. These works can either hang from the ceiling or from two steel arms secured to a wall, or can even lean on the floor. The Tondi look wonderful in a location with lots of sun, or lit with a spot light. In any configuration, the colorful reflections and shadows cast on the walls and the floor are fantastic.
Daniel Buren, Tondo #7, 2015
Colored acrylic Altuglas in red, orange, green, light blue, and yellow, translucent white adhesive vinyl stripes of 8.7 cm wide on transparent acrylic glass, black steel satin frame, cable
In his over 50-year career, Daniel Buren is best known for his use of contrasting stripes as a visual tool that reveals the specific features and dimensions of a site, often transforming the environment for which it was specifically designed. He alters the perception and context of one's surroundings by modifying the navigation of space, enhancing lighting, obstructing viewpoints, and highlighting certain architectural features. Buren constructs his work, much of which is temporary, in the architecture of both public and private spaces ranging from subway platforms to museums. 
Daniel Buren, Tondo #8, 2015
Colored acrylic Altuglas in red, and dark blue, translucent white adhesive vinyl stripes of 8.7 cm wide on transparent acrylic glass, black steel satin frame, cable
Buren has also identified himself as an artist who "lives and works in situ." This "situated work" is work for the most part inspired by a particular location, but made with the intention that the very same elements of the original work can be reinstalled in different sites following a series of rules, changing each time in response to the given place. In turn, the site is changed by the work. Buren's visual tool is the white and alternating color stripes of exactly 8.7 cm. in width, as derived from the fabric he first used as a canvas in 1965. This functions as a standard or unit of measure in all of Buren's work. 
Daniel Buren, Tondo #5, 2015
Colored acrylic Altuglas in orange, green, light blue, dark blue, and light green, translucent white adhesive vinyl stripes of 8,7 cm wide on transparent acrylic glass, black steel satin frame, cable
Daniel Buren (b. 1938) has been the subject of major museum exhibitions worldwide. His work has exhibited in the Venice Biennale more than 10 times and he was awarded the Golden Lion in 1986.
Throughout the past decade, Analia Saban has developed a dynamic practice that both investigates and undermines the fundamental elements of art-making, blurring the lines between what constitutes painting, sculpture, and everyday object. Saban's latest body of work examines the transition between analog and digital worlds. Literally weaving together content and form, she continues to explore how artistic materials have shaped the history of art and the role of technology in shaping our culture. 
Analia Saban, Tapestry (256-Bit Static Ram, 4100, Fairchild, 1970), 2018
Woven acrylic paint and linen thread
Using elements and processes familiar throughout her career - the precision of laser cut paper, ripples created by printer ink, the rigid and mechanical forms of circuit boards, and woven
acrylic paint through linen - Saban's new works playfully sabotage the relationship between form and function. Each pattern echoes
the geometric plan of a specific circuit board that has played a significant role in the history of computer technology. The works are named after the circuit that provides the basis for its respective
pattern, such as Tapestry (256-Bit Static Ram, 4100, Fairchild, 
1970), as seen here.
Analia Saban, Detail of Tapestry(256-Bit Static Ram, 4100, Fairchild, 1970)
Saban's Tapestry works deconstruct, re-appropriate, and even re-invent conventional painting elements, challenging the hierarchies of craft and fine art, seeming like three-dimensional objects in their draped appearances. She creates these unusual textile pieces by interlacing linen threads with long strips of dried yet pliable acrylic paint that serve as the weft. A grid of stitches emerges, giving the work its mesmerizing matrix-like structure. Each stitch can be seen as a pixel, together forming incremental pieces of data and information.
Installation view of Analia Saban's Tapestry works
Born in 1980 in Buenos Aires, Argentina, Saban currently lives and works in Los Angeles, California. Her works are represented in the collections of the Hammer Museum at UCLA, Museum of Contemporary Art, and Los Angeles County Museum of Art in Los Angeles; Hessel Museum of Art at Bard College in New York; Norton Museum of Art in Florida; Centre Pompidou in Paris; Fundación Proa in Buenos Aires; and The Israel Museum in Jerusalem, among others.
Over the past three decades, Von Heyl has made paintings that alter conventional assumptions about composition, beauty, narrative, design, and artistic subjectivity. Her newest paintings, however, function as self-perpetuating visual events that subtly simultaneously seduce and disturb the viewer. These new works capture time through dense configurations filled with moody rhythms of color and shape.
Charline Von Heyl, Poetry Machine #1, 2018, Oil, acrylic, charcoal on linen
A painting can begin with a meandering line that loops and snaps into a biomorphic checkerboard.  Various images, such as rabbits, heads and faces, have been deceivingly painted as if placed on the surface as a second thought. These sequences unfold slowly while the painting is viewed - overlapping, dissolving or blending to produce an image that stands for itself as fact. 
Charline Von Heyl, 5 Signs of Disturbance, 2018, Acrylic on linen
Charline Von Heyl was born in 1960 in Germany; she lives and works in New York and Marfa, TX. Her works are in the collections of The Tate, London; the Museum of Modern Art, NY; the Museum of Contemporary Art, Chicago; San Francisco Museum of Modern Art and others. Currently Von Heyl has a gallery show in New York City as well as a large solo survey of her work at Diechterhallen, Hamburg, which will travel to the Hirschhorn Museum and Sculpture Garden, Washington DC later this Fall. 
In his latest works, Smith explores the constructive nature of memory as it relates to his awareness as a Jamaican American. His work highlights the connection to this heritage and considers how experiences between cultures and places are represented.
Paul Anthony Smith, Visibility comes at a cost, 2018, Unique picotage on inkjet print with spray paint mounted on museum board
Smith's "picotage" photographs incorporate images of friends, family and strangers socializing in various public spaces in Jamaica, Brooklyn and Puerto Rico. Smith then picks the surface of the printed photograph with a sharp tool to produce glistening, prismatic geometries in diamond, striped and triangular patterns. These surface disruptions come out of earlier works referencing African masks and create a time-stamp between the anonymity of the patterns and figures. 
Paul Anthony Smith, Departure Amputated, 2018, Unique picotage on inkjet print with spray paint mounted on museum board
Smith's work has been acquired by numerous public collections, including most recently the Minneapolis Institute of Art. He lives and works in Brooklyn, NY.