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Double Vision: Curated by Jane Holzer

Past exhibition
14 May - 15 October 2019
  • Installation Views
  • press-release
  • Works
    • Sol Lewitt Complex Form #65, 1989 Painted wood 59 1/2 x 40 x 38 in. (151.13 x 101.6 x 96.52 cm.)

      Sol Lewitt

      Complex Form #65, 1989

      Painted wood

      59 1/2 x 40 x 38 in. (151.13 x 101.6 x 96.52 cm.)

    • Tom Wesselman Study for Smoker No. 14, 1973 Oil on canvas 10 1/4 x 12 in., 26.04 x 30.5 cm. Signed, titled and dated 73 in pen on the overlap

      Tom Wesselman

      Study for Smoker No. 14, 1973

      Oil on canvas

      10 1/4 x 12 in., 26.04 x 30.5 cm.

      Signed, titled and dated 73 in pen on the overlap

    • Tom Wesselman Study for Smoker No. 13, 1973 Oil on canvas 11 3/4 x 13 1/2 in. (30 x 34.3 cm.)

      Tom Wesselman

      Study for Smoker No. 13, 1973

      Oil on canvas

      11 3/4 x 13 1/2 in. (30 x 34.3 cm.)

    • Richard Prince The Cure that is the Prize, 1995 Acrylic on canvas 56 x 48 in. (142.24 x 121.92 cm.)

      Richard Prince

      The Cure that is the Prize, 1995

      Acrylic on canvas

      56 x 48 in. (142.24 x 121.92 cm.)

    • Anish Kapoor Untitled (Blue Solid), 2006 Aluminum and lacquer paint 12.5 x 36 x 36 in. (32 x 92 x 92 cm.)

      Anish Kapoor

      Untitled (Blue Solid), 2006

      Aluminum and lacquer paint

      12.5 x 36 x 36 in. (32 x 92 x 92 cm.)

    • John Chamberlain Table of Tides & Pot-Pourri, 1993 Painted stainless and chromium-plated steel with glass top and painted steel shards and medallions, respectively Table: 34 3/4 x 95 3/4 x 47 3/4 in. (88.3 x 243.2 x 121.3 cm.) Pot-Pourri: 6 x 6 1/2 x 6 1/2 in. (15.2 x 16.5 x 16.5 cm.)

      John Chamberlain

      Table of Tides & Pot-Pourri, 1993

      Painted stainless and chromium-plated steel with glass top and painted steel shards and medallions, respectively

      Table: 34 3/4 x 95 3/4 x 47 3/4 in. (88.3 x 243.2 x 121.3 cm.)

      Pot-Pourri: 6 x 6 1/2 x 6 1/2 in. (15.2 x 16.5 x 16.5 cm.)

    • Keith Haring Red-Yellow-Blue #2, 1987 Acrylic on canvas 84 x 48 1/4 in. (213.36 x 123 cm.)

      Keith Haring

      Red-Yellow-Blue #2, 1987

      Acrylic on canvas

      84 x 48 1/4 in. (213.36 x 123 cm.)

    • Keith Haring Untitled (Two Heads), 1986 Acrylic on canvas 36 x 48 in. (91.44 x 122 cm.)

      Keith Haring

      Untitled (Two Heads), 1986

      Acrylic on canvas

      36 x 48 in. (91.44 x 122 cm.)

    • Andy Warhol Perfume and Necklace, 1962 Graphite on ivory paper 24 x 18 in. (60.96 x 45.72 cm.) Signed and dated 1962; stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, New York, and numbered 154.005 on the reverse.

      Andy Warhol

      Perfume and Necklace, 1962

      Graphite on ivory paper

      24 x 18 in. (60.96 x 45.72 cm.)

      Signed and dated 1962; stamped by the Estate of Andy Warhol and the Andy Warhol

      Foundation for the Visual Arts, New York, and numbered 154.005 on the reverse.

    • Andy Warhol Unidentified Woman, 1980 Perfume Bottles, 1985 Synthetic polymer paint and silkscreen ink on canvas 30 x 21 1/2 in. (76.2 x 54.61 cm.)

      Andy Warhol

      Unidentified Woman, 1980

      Perfume Bottles, 1985

      Synthetic polymer paint and silkscreen ink on canvas

      30 x 21 1/2 in. (76.2 x 54.61 cm.)

    • Andy Warhol Mrs. Vardinoyannis, 1983-84 Synthetic polymer paint and silkscreen ink on canvas 40 x 40 in. (101.6 x 101.6 cm.)

      Andy Warhol

      Mrs. Vardinoyannis, 1983-84

      Synthetic polymer paint and silkscreen ink on canvas

      40 x 40 in. (101.6 x 101.6 cm.)

    • Andy Warhol Portrait of Debra, 1986 Synthetic polymer and silkscreen inks on canvas 40 x 40 in. (101.6 x 101.6 cm.) Signed and dated "86" on the reverse

      Andy Warhol

      Portrait of Debra, 1986

      Synthetic polymer and silkscreen inks on canvas

      40 x 40 in. (101.6 x 101.6 cm.)

      Signed and dated "86" on the reverse

    • Andy Warhol Details of Renaissance Paintings (Paolo Uccello, St George and the Dragon, 1460), 1984 Green/blue screenprint on brown wrapping paper 60 x 83 in. (152.4 x 210.82 cm.) Framed: 67 x 93 in. (170.18 x 236.22 cm.)

      Andy Warhol

      Details of Renaissance Paintings (Paolo Uccello, St George and the Dragon, 1460), 1984

      Green/blue screenprint on brown wrapping paper

      60 x 83 in. (152.4 x 210.82 cm.)

      Framed: 67 x 93 in. (170.18 x 236.22 cm.)

  • Overview
    Sol Lewitt Complex Form #65, 1989 Painted wood 59 1/2 x 40 x 38 in. (151.13 x 101.6 x 96.52 cm.)

    Sol Lewitt

    Complex Form #65, 1989

    Painted wood

    59 1/2 x 40 x 38 in. (151.13 x 101.6 x 96.52 cm.)

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  • press-release

     NEW YORK, NY — Leila Heller is pleased to present the opening of her new show, titled DOUBLE VISION, curated by Jane Holzer. DOUBLE VISION features a collection of artworks by world-renowned and established artists exhibited as juxtapositions to one another in a display of doubles, or paired works.

     

    Considered, ‘the girl who reigned 1964’ by Tom Wolf when she was just 24 years old, Jane Holzer — known synonymously as Andy Warhol’s muse “Baby Jane” — even today sits between the aesthetic of pop art and camp. First discovered by British photographer David Bailey in 1963, Holzer propelled into the spotlight, eventually becoming the personification of Warhol’s artistic ethos. Her penchant for art can be described as “visceral” and “whimsical,” drawn to seriality, camp, gauchely kitsch, playfully and starkly stimulating works that fit within her day-to-day. Having the privelidge of being with Andy Warhol at the factory, she learned the use of seeing everything in doubles, whether it was in his movies or in his canvases, which were often duplicated.

     

    Carrying this mindset forward, the works featured in DOUBLE VISION represent a roster of artists who coexist alongside the life of Jane Holzer, whether in the physical, emotional, or aesthetic sense. Depicted here are artists that Jane has supported and appreciated — artists who resonate and reflect their own tastes. This includes her new discoveries, Julie Hamisky and Michael Salerno, as well as the likes of Andy Warhol, Keith Haring, Roy Lichtenstein, Nate Lowman, Richard Prince, Tom Wesselmann, Paola Pivi, Sol LeWitt, Cady Noland, Anish Kapoor, George Condo, Ed Ruscha, John Chamberlain, Yayoi Kusama, as well as artists of the gallery which Jane has selected, including Firooz Zahedi, Nick Moss, Rachel Lee Hovnanian, Johan Creten, Nancy Lorenz, and Ran Hwang.

     

    Indicative of Holzer’s own curatorial method, the artists above will be shown in the intimate setting of Leila Heller’s new space, further emphasizing the unique relationship she has with art — as a compelling force in her world, and a dynamic presence she desires to remain entrenched in.

     

    ABOUT THE CURATOR

    Born in Palm Beach, Florida, Jane Holzer is an American art collector and film producer previously known as an actress, model, and Warhol’s superstar “Baby Jane”. She has appeared in Andy Warhol’s Soap Opera (1964), Couch (1964), and Camp (1965). A cultural icon, Jane Holzer’s persona has been parodied and replicated in a variety of television shows, films, and marketing campaigns, including “Baby Jane Towser” in the 1967 Batman tv series, following her appearance in Warhol’s Batman Dracula in 1964. As an avid collector, Holzer’s collection includes artists she has both worked with, befriended, or considers incremental to her own life through their aesthetic preferences.

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