Tides & Textures at The Boca Raton | Beach Club

Harry Benson, Beatles Running on Miami Beach; edition 7/35, 1964

Photograph, 30 x 40 inches paper / 42.25 x 51 inches (framed) [+$1,200 frame]

BENS00036

Harry Benson, Andy Warhol and Bianca Jagger, The Factory, NYC; edition of 35, 1964

Photograph, 23 x 50 in.

In Harry Benson’s “Andy Warhol and Bianca Jagger at The Factory,” the photographer employs a unique and innovative technique to convey a nuanced narrative. The photograph is presented as a Kodak film strip, featuring two distinct images captured within a single frame. In the first image, Andy Warhol, the enigmatic artist synonymous with the Pop Art movement, takes center stage. He is sharply in focus, holding a camera with a sense of purpose and intent. Behind him, Bianca Jagger, the glamorous and iconic figure, occupies the foreground but remains blurred, her features obscured by the selective focus. The deliberate choice to keep Warhol in focus while rendering Jagger blurry creates a striking visual juxtaposition, inviting viewers to contemplate the dynamic relationship between artist and muse. Warhol, renowned for his exploration of fame and celebrity culture, assumes the role of the observer, capturing Jagger through his lens. His presence in the foreground suggests an element of control and authority, as he directs the gaze of both the viewer and his subject. In the second image of the film strip, the focus shifts dramatically. Now, Bianca Jagger emerges as the focal point, her features rendered with crisp clarity while Warhol recedes into a soft blur. This reversal of focus underscores the ephemeral nature of celebrity and the transient power dynamics within the world of art and fame. Jagger, once the blurred subject in the background, now takes center stage, commanding attention with her poise and presence. Through Benson’s masterful composition, “Andy Warhol and Bianca Jagger at The Factory” transcends the confines of a traditional photograph, becoming a layered exploration of identity, perception, and the interplay between artist and subject. The use of the film strip format adds an additional layer of storytelling, reminiscent of the sequential narrative found in cinema. As viewers navigate between the two images, they are invited to consider the complexities of fame, representation, and the symbiotic relationship between those who create art and those who inspire it. Benson’s photograph stands as a testament to the enduring allure of these two iconic figures and the captivating stories they continue to inspire.

BENS00038

Harry Benson, Beatles Waving on Miami Beach; edition 6/35, 1964

Archival Pigment Photograph, 30 x 40 inches (paper) / 41.25 x 51 inches (framed) [+$1,200 frame]

BENS00048

Andrew Blauschild, Ghostboard #8

digital pigment print, 24 x 42 inches (paper) / 25.75 x 43.75 inches (framed)

BLAU00002

Andrew Blauschild, Aug Boards BW; edition 1/6, 2013

silver gelatin selenium print, 60 x 41.75 inches (paper) / 61.5 x 43.25 inches (framed)

BLAU00004

Max-Steven Grossman, Beaches; edition 4/5, 2025

diasec mounted photo, 37 x 75 in.

GROSS00965

Alex Katz, Large Black Hat (Ada); edition 4/25, 2013

Silkscreen on Saunders Waterford hot press 410 gsm paper, 62 x 58 in.

KATZ00121

Kx2 Ruth Avra & Dana Kleinman, Sand Drift, 2023

Repurposed industrial pipe with acrylic on wood, 20 elements
dimensions variable - each element has 10.5 inch diameter

Kx200073

Kx2 Ruth Avra & Dana Kleinman, White Sands, 2024

brushed aluminum inset with mixed media on panel, 48 x 48 x 5 in.

Kx200080

Rob Lorenson, XOXOX (White), 2025

Painted Aluminum, 96 in.

LORE00156

Donald Martiny, Zimtsterne, 2024

polymer and pigment on aluminum

Donald Martiny’s Zimtsterne (2024) is a dynamic and sculptural painting that exemplifies his signature technique of gestural abstraction, where brushstrokes break free from the traditional canvas. Crafted from polymer and pigment on aluminum, this large-scale artwork captures the raw energy of movement, allowing the viewer to experience color, form, and texture in its most expressive and physical state. Martiny’s work challenges conventional painting by extending its physical boundaries, creating a three-dimensional presence that transforms the space it inhabits. The thick, sweeping gestures in Zimtsterne evoke a sense of spontaneity and fluidity, while the interplay of earthy brown tones and stark whites adds depth and contrast. Inspired by the act of painting itself, Martiny’s sculptural brushstrokes reflect the immediacy of mark-making and materiality. This museum-quality contemporary artwork is ideal for collectors, modern art enthusiasts, and luxury interiors seeking a bold, immersive statement piece. Zimtsterne is available exclusively at Sponder Gallery. Key Features: Large-scale gestural abstraction by Donald Martiny Sculptural painting crafted from polymer and pigment on aluminum Dynamic three-dimensional presence that extends beyond the canvas Donald Martiny art, Zimtsterne by Donald Martiny, gestural abstraction, sculptural painting, contemporary abstract art, polymer and pigment painting, modern art for collectors, large-scale contemporary painting, three-dimensional brushstroke art, museum-quality contemporary art, Sponder Gallery, abstract expressionist sculpture, luxury art installation, contemporary art investment.

MART00158

Alessandro Puccinelli, Mare 351; edition of 3, 2019

Archival pigment print, 47.25 x 70.75 in. paper / 56 x 79 in. framed (+$3,000 frame)

PUCI00001

Alessandro Puccinelli, Mare 411; edition of 3, 2019

Archival pigment print, 47.25 x 70.75 in. paper / 56 x 79 in. framed (+$3,000 frame)

PUCI00003

Jonathan Smith, Falls #36, 2024

Photograph, 50 x 90 in.

SMI00013

Jonathan Smith, Falls #46, 2024

Photograph, 70 x 56 in.

SMI00015

Patrick Tagoe Turkson, 354 Yentsie Obiaa 1, 2023

Found Flip Flops on Suede, 143 x 56 in.

A compelling assemblage from the artist's flip flop series invites rigorous examination of material culture and the socio-environmental implications of contemporary art practices. Measuring an enormous 143 x 56 inches, this piece is constructed from found flip-flops meticulously arranged on suede, a choice that situates Turkson within a lineage of artists who engage with reclaimed materials to critique consumerism, transnational waste flows, and the ecological toll of globalized economies. The work’s intricate patchwork structure transforms detritus into a carefully ordered visual lexicon, where each fragment of rubber contributes to an overarching mosaic, resonant with both aesthetic and cultural significance.

TAGO00020