Kaws

The Back Room: Once Upon a Time in the West


Every Friday, Midnight Publishing Group News Pro members get exclusive access to the Back Room, our lively recap funneling only the week’s must-know intel into a nimble read you’ll actually enjoy. 

This week in the Back Room: A former LA textile mill churns out art stars, the law catches up to a scandalous SoCal dealer, Gagosian goes big online (again), and much more—all in a 6-minute read (1,824 words).

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Top of the Market

LA, LA, Big City of Dreams

Canyon Castator, courtesy of the artist.

Canyon Castator, courtesy of the artist.

The international art market’s next step out of the COVID riptide landed in Los Angeles this week, as the city hosts its first gallery weekend (organized by Gallery Association Los Angeles), the third edition of the Felix art fair, and a beach bag overflowing with associated art happenings. You can even scroll through Frieze’s LA-focused OVR while you crawl along the freeway from event to event!

But one of the city’s most exciting new art hubs will impact the industry well after the limelight turns to the next destination on the events calendar. Welcome to Mohilef Studios, a former downtown LA textiles factory now housing four stories of workspaces for an ensemble cast of rising art stars.

As Katya Kazakina reports, the driving force behind Mohilef Studios is the buzzy transplanted New York painter Canyon Castator. Six years after renting an 800 square-foot space to share with his sculptor father in what was then an arts-bereft building, Castator has grown into a hybrid curator, community builder, and entrepreneur tending what tastemakers increasingly feel is a can’t-miss hive of emerging talent.

Those tastemakers include local dealer and artists’ manager Niels Kantor, Hollywood producer and veteran collector Neal Moritz, and K-Pop supernova T.O.P. (Choi Seung-hyun). Among the fans on the gallery side are Bill Brady (who maintains spaces in New York, Miami, and Los Angeles) and Carl Kostyál (London, Stockholm), both of whom have now exhibited works by multiple current and former Mohilef tenants.

Who are some of those tenants, you ask?

  • Simphiwe Ndzube, now boasting a solo show at the Denver Art Museum and representation by Nicodim and Stevenson galleries.
  • Jess Valice, whose one-person exhibitions at Brady’s New York and Miami spaces sold out in January at prices ranging from $5,000 to $18,000.
  • Austyn Weiner, a Mohilef alum whose works have soared as high as $90,000 at auction and anchored shows at the JournalKohn Gallery, and Carl Kostyál.

Yet these successes have been refreshingly organic. Castator says the vision was always for Mohilef to be an affordable resource for artists, with a sense of community and a self-made spirit. The reality is living up to his expectations.

The two Castators have personally renovated every space and selected every new resident. Each floor has a different layout fit for different career stages, from smaller open-plan studios to about 3,200-square-foot private spaces. Prices are around $1.25 per square foot. Since neither Castator nor several of the tenants went to art school, the studio also doubles as a homegrown support network.

It has paid off for everyone, including Castator himself. His paintings now sell for $25,000 to $35,000 to buyers including KAWS. And as the buzz around Mohilef keeps mounting, his clout will only increase as an artist, talent scout, and maybe even a new SoCal cultural kingmaker.

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The Bottom Line

From the market’s perspective, Mohilef Studios is the right thing in the right place at the right time.

The COVID financial boom continues to send upside-minded buyers hunting for promising young artists, drastically juicing prices and opportunities for exactly the types of talent Mohilef welcomes. Merge this dynamic with the larger cultural and financial push toward Los Angeles in recent years, and its surging profile makes perfect sense.

No wonder Castator just rented 4,000 square feet on the top floor of an industrial building on Washington Boulevard to convert into more artist studios. You know LA loves a sequel…

 

[Read More]

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Paint Drippings

The Henderson, Hong Kong by Zaha Hadid Architects for Henderson Land. Rendering by Arqui9, courtesy of Christie's.

Visualization of the Henderson, Hong Kong by Zaha Hadid Architects for Henderson Land, where Christie’s will move in 2024. Rendering by Arqui9, courtesy of Christie’s.

Wet Paint is on hiatus this week, but here’s what else made a mark around the industry.

 

Art Fairs

  • Volta will debut in downtown Miami during Miami Art Week, replacing Pulse. (Both events are now owned by Ramsay Fairs.)

  • The Seattle Art Fair will return next summer, from July 21–July 24 at the Lumen Field Event Center.

 

Auction Houses

  • Christie’s Hong Kong will be an anchor tenant in the Henderson, a new Zaha Hadid Architects-designed tower in Central. The move (slated for 2024) quadruples the house’s showroom space, enabling it to hold a yearlong sales program in HK for the first time.

 

Galleries

  • Mike Egan, founder of the tastemaking Ramiken gallery, has teamed with respected Upper East Side dealer Meredith Rosen on a joint venture called (what else?) Egan and Rosen. The new business opened its inaugural show, “Otto Dix / Andra Ursuţa,” last night in its home at 11 East 78th St. (Both dealers will also continue running their pre-existing galleries separately.)

  • Andrew Kreps announced the representation of Hong Kong-based painter Henry Shum (in collaboration with Empty Gallery). Kreps will stage Shum’s first solo show in North America in fall 2022.

  • Nara Roesler added painter André Griffo to its stable (in alliance with Rio’s Galeria Athena); his first one-person exhibition with the dealer will bow in São Paulo next year.

  • Multidisciplinary artist Nicholas Hlobo has joined Goodman Gallery. (He will also continue to be repped by Lehmann Maupin.)

  • König Galerie expanded its artist ranks with painter Conny Maier, a recipient of Deutsche Bank’s 2020 Artist of the Year Award.

  • JTT added James Yaya Hough, whose work is currently on view in a solo show at the gallery (and was also featured in MoMA PS1’s “Marking Time: Art in the Age of Mass Incarceration” last year).

  • New York’s Tina Kim Gallery now reps installation artist Mire Lee, a nominee for the PinchukArtCentre’s Future Generations Art Prize.

  • Angela Cuadra and Laura F. Gibellini became the latest artists to join Madrid’s NF/Nieves Fernández gallery.

 

Institutions

  • Starting October 1, the next director of the Centre Pompidou will be 39-year-old Xavier Rey, who has helmed the Musées de Marseille for the past four years.

  • The Solomon R. Guggenheim Museum named Ty Woodfolk its first ever chief culture and inclusion officer; it also promoted Trish Jeffers to deputy director of human resources.

  • New York’s Museum of Arts and Design chose Timothy R. Rodgers, formerly of the Phoenix Art Museum, to be its 11th director in eight years.

  • Tate Liverpool will host the fall exhibition of artists shortlisted for the 2022 Turner Prize. The artists will be selected next May, and the winner will be announced in December.

  • The Institute of Contemporary Art at Virginia Commonwealth University selected Sarah Rifky to be its senior curator and director of programs. It also promoted Amber Esseiva from associate curator to full curator.

  • The Seoul Museum of Art accepted a gift of 141 works from the heirs of late Korean sculptor Kwon Jin-kyu.

  • MoMA PS1 announced the 47 artists in its upcoming “Greater New York” exhibition, set to debut on October 7. ARTnews has the full list.

 

NFTs and Misc.

  • The Whitworth gallery in Manchester is partnering with versatile online art platform Vastari Labs to auction a William Blake NFT whose proceeds will fund “socially beneficial projects.”

  • A New York Supreme Court judge tossed out collector Michael Steinhardt’s lawsuit against Hirschl and Adler gallery and its president, Stuart Feld, over the sale of a $12 million portrait of another president, George Washington.

  • Jeremy Stowe, who had previously taken a leave of absence from his role as leader of the West Kowloon Cultural District Authority, has stepped down.

 

CORRECTION: Last week’s edition included a rumor that Blum & Poe’s Los Angeles headquarters would show collaborative works by Mark Grotjahn and Jonas Wood in September. In reality, the gallery will be presenting a solo show of works by Grotjahn, his first at the space since 2016. 

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Data Dip

Asia Outbuilds Everybody

Graph from AEA Consulting’s Cultural Infrastructure Index 2020.

Auction sales weren’t the only metric where the Eastern art industry fought off the pandemic more ably than the West in 2020. For the first time ever, Asia completed more cultural infrastructure projects above $10 million than any other region, finishing 34 to North America’s 32 per a new report from AEA Consulting.

The study covers new builds, renovations, and expansions of museums, galleries, performing arts centers, multifunction arts venues, and cultural hubs or districts. Like Asia, Australia/New Zealand, the Middle East, and Africa all saw either flat or increased numbers of new institutions open in 2020. Equivalent figures in North America and Europe both declined in a big way.

Still, this could be more anomaly than trend. North America announced 53 new cultural infrastructure projects last year—almost twice as many as anywhere else. But only time will tell whether the West will win the construction race, or just win the initial press conferences.

For more takeaways from the AEA report, click through below.

 

[Read More]

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“We try everything. Since NFTs exist, we need to try them.”

Mikhail Piotrovsky, general director of Russia’s State Hermitage Museum, on its imminent fundraising auction of NFTs linked to works by Giorgione, Kandinsky, Leonardo, Monet, and van Gogh.

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Express Checkout

The Feds Wage War on Chrismas + Three More Market Morsels

 

The FBI arrested notorious LA dealer Douglas Chrismas on charges of embezzling upwards of $260,000 from the bankruptcy estate of the now-shuttered Ace Gallery, which he founded in 1967 and lost ownership of in 2013. (The Los Angeles Times)

  • Chrismas, age 77, faces up to 15 years in prison if convicted on all counts. He pleaded not guilty, with his trial scheduled to begin in September.

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Marian Goodman gallery became the latest blue-chip gallery to announce a robust new leadership structure without mentioning the phrase “succession plan”; the headline moves include its namesake moving to CEO, and Philipp Kaiser becoming president and partner. (Press release)

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The Artists Pension Trust, once seen as a promising new vehicle to stabilize artists’ finances, has provoked accusations of mismanagement, an official complaint to British regulators, and at least one lawsuit from its members. (The New York Times)

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An insider’s look at the ascendant dealers and agents making Accra an art-market hotspot. (Midnight Publishing Group News Pro)

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Work of the Week

Chris Burden’s The Hidden Force

Chris Burden, <i>The Hidden Force</i> (1995). © 2021 Chris Burden / licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York Courtesy Gagosian

Chris Burden, The Hidden Force (1995). © 2021 Chris Burden / licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York
Courtesy Gagosian

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Date:                      1995

Seller:                    Gagosian

Price:                     $2.25 million

Selling at:              Frieze Viewing Room, Los Angeles

Sale Date:              Through Sunday, August 1

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Still believe a savvy dealer would only post modestly priced, easy-to-sell works in an online viewing room? Gagosian is challenging that myth yet again in its Frieze Los Angeles OVR dedicated to the late California visionary Chris Burden. Standing out amid an ambitious array of genre-crossing works is The Hidden Force, an outdoor sculpture consisting of three partially in-ground concrete pools  that function as monumental compasses. Thanks to one magnetized end, the elliptical object floating in each pool always bobs back to due north, giving viewers both literal and metaphorical guidance on their life’s journey.

Originally commissioned for the McNeil Island Corrections Center via the Washington State Arts CommissionThe Hidden Force was decommissioned when the prison closed in 2011. The Burden estate recently secured the right to recreate the piece and will consult with an acquiring collector or institution to ensure it integrates with its new home in a site-specific, site-responsive way true to the artist’s intent.

So why offer it here and now? “2021 would have been Burden’s 75th milestone year,” said Yayoi Shionoiri, the estate’s executive director. “While Burden created The Hidden Force in the 1990s, this work feels as timely as ever, and serves to remind us all of the power of art.” That it’s being made available in this context should also remind us that both west-coast collectors and the OVR are stronger than ever.

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Thanks for joining us in the Back Room. See you next Friday.

The post The Back Room: Once Upon a Time in the West appeared first on Midnight Publishing Group News.

Phillips London Just Set Nearly 20 Auction Records for Emerging Artists in Its $8.8 Million ‘New Now’ Sale


Phillips’s “New Now” contemporary art sale in London on July 13, which featured an eclectic mix of artworks by emerging, buzzed-about artists alongside established blue-chip names like Andy Warhol, Banksy, and KAWS, pulled in a sturdy £6.4 million ($8.8 million), the highest total for a Phillips London sale in the category.

The intermingling of well-established with new names in a single auction tends to lead to a clear split between the top prices, with the more recognizable stars bringing in more cash.

But the Phillips sale was something of an exception: while the top lots of the night were by Warhol and KAWS, much buzzed-about figurative artists like Genieve Figgis also made big splashes, and nearly 20 auction records were set for living artists, including Josh Smith, Ryan Gander, and Oli Epp. 

Andy Warhol Flowers (1964-65). Image courtesy Phillips.

Andy Warhol Flowers (1964-65). Image courtesy Phillips.

Of 224 lots offered, 198, or 86 percent, were sold. By value, the auction was 94 percent sold, a reflection of the number of lots that brought over-estimate prices. 

“The strength of the market was demonstrated through the enthusiasm and depth of bidding from bidders across 48 countries worldwide,” said Simon Tovey, the London-based head of the sale. He noted that six artists made their debut onto the secondary market.

The top lot was Warhol’s Flowers (1964–65), a classic image by the artist, which sold for a mid-estimate £1.35 million ($1.9 million) with premium.

The second-highest, though far lower, price was for an untitled painting by KAWS featuring Star Wars character C3P0 sporting a signature KAWS animated head with X’s for eyes. It sold for £352,800 ($488,804), just a notch over the high £350,000 estimate.

Banksy’s Love Is In The Air screenprint (2003), depicting one of the artist’s best-known images (a masked figure about to launch a bouquet of flowers as though it were a molotov cocktail) sold for £214,200 ($296,774), also meeting its estimate including the premium. (Final prices include buyer’s premium unless otherwise noted; estimates do not.)

A new record was set for Josh Smith, an artist who works with collage, sculpture, and printmaking in a style that mixes abstraction and figuration. Though he first became recognized for canvases that depicted his own name in expressive loops and swirls, many of the recent works are of Expressionist-style palm trees against sunset backdrops.

Oli Epp Whistleblower (2017). Image courtesy Phillips.

Oli Epp Whistleblower (2017). Image courtesy Phillips.

An untitled example of this subject matter from 2014 sold for a record £214,200 ($297,000) today, clearing the high £150,000 estimate by a wide margin. The previous record of $262,500 was set in May 2019, at Sotheby’s New York, also for a palm tree and sunset image.

Whistleblower (2017), a painting by Oli Epp, a London-based artist known for his deformed and quirky figures, shattered its modest estimate of £10,0000 to £15,000 to sell for £144,900 ($200,800), and was the seventh-highest price of the night.

The sale featured a number of African artists and artists of the African diaspora, some of whose works were sold to benefit the Africa First Artist Residency Program, with almost £220,000 ($305,000) raised in total. 

As part of this group, a record was set for Simphiwe Ndzube, who is originally from Cape Town and is based in Los Angeles. Figure With a Whip Leg (2019) sold for £37,800 ($52,372).

Ndzube’s work is inspired by the South African working-class Black men’s tradition of swenking, informal competitions that are part fashion show and part dance-off. He appeared on Midnight Publishing Group News’ 2018 list of Armory Show artists to watch.

Zimbabwean artist Moffat Takadiwa’s Land of Money and Honey (2017), an assemblage of metal bottle caps and plastic on plastic cord, sold for a record £12,600 ($17,457). 

Outside of that group, there were a number of works by African artists painting in the last half decade that were sold from galleries on the primary market not long ago.

Josh Smith Untitled (2014). Image courtesy Phillips.

Josh Smith Untitled (2014). Image courtesy Phillips.

These included a painting by Zimbabwe-born, South African artist Kudzanai-Violet Hwami, KWEKWE x HARARE x CAPETOWN WHEREVER YOU’RE FROM (2015), which sold for £81,900 ($113,000), far above the high £50,000 estimate. Meanwhile, Lady in Orange (2020) by Nigerian artist Chiderah Bosah, which was acquired directly from the artist by the consigner, sold for a double estimate £17,460 ($24,000).

The sale also featured a special charitable component organized by fashion designer Stella McCartney, who, during lockdown, reached out to 26 artists, colleagues, and friends to select and visualize letters from the alphabet to create a “McCartney A to Z Manifesto.”

Each artist was given absolute freedom to reimagine their own letter and to select their own charitable cause. Hajime Sorayama selected Médecins Sans Frontières Japan and Cindy Sherman supported Planned Parenthood.

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The Art Angle Podcast: KAWS Is the World’s Most Popular Artist. Why?


Welcome to the Art Angle, a podcast from Midnight Publishing Group News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join host Andrew Goldstein every week for an in-depth look at what matters most in museums, the art market, and much more with input from our own writers and editors as well as artists, curators, and other top experts in the field.

Art shows are a thing again! At least in New York, at least for now, and at least in the socially distanced way that we’ve come to see as normal. But it’s really great news for the art museum-going crowd. And it’s even better news that some of the shows on view are really, really good.

Without question, one of the buzziest shows of the season is the Brooklyn Museum’s sweeping survey of the street artist and late capitalism prodigy known as KAWS, one of the most popular artists in the world.

So, is his show really, really good? What’s the deal with KAWS anyway? We decided to ask Midnight Publishing Group News chief art critic Ben Davis, who saw the show and wrote a review of it with the arresting title “Why KAWS’s Global Success May Well Be a Symptom of a Depressed Culture, Adrift in Nostalgia and Retail Therapy.”

On this week’s episode we dive into the social-media, fast-fashion, luxury-object, street-artist fever dream that helped propel Brian Donnelly, aka KAWS, to superstardom.

Listen to Other Episodes:

The Art Angle Podcast: How the Pandemic Totally Changed the Art Market

The Art Angle Podcast: How NFTs Are Changing the Art Market as We Know It

The Art Angle Podcast: Lorraine O’Grady on the Social Castes of the Art World

The Art Angle Podcast (Re-Air): Why Artist Trevor Paglen Is Doing Everything He Can to Warn Humanity About Artificial Intelligence

The Art Angle Podcast: What Will Be the Fate of the Benin Bronzes?

The Art Angle Podcast: The Haunting History of the Benin Bronzes

The Art Angle Podcast: The Surprising Lessons of FDR’s New Deal Art Programs

The Art Angle Podcast: 5 Steamy, Whirlwind Romances That Changed Art History

The Art Angle Podcast: MoMA Curator Paola Antonelli on Design for the Post-Pandemic World

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In Pictures: See Highlights From the Brooklyn Museum’s KAWS Extravaganza, From Early Graffiti to Sneakers and Sofas


KAWS, aka Brian Donnelly, is one of the hottest artists in the world. Which means that the Brooklyn Museum has the hottest ticket in town with the opening of “KAWS: What Party,” a career-spanning retrospective.

The work on view spans a range of genres: early graffiti and street art; paintings appropriating cartoon icons like the Simpsons and the Smurfs (including The Kaws Album, a small canvas that sold for a eye-opening $14.7 million back in 2019); many, many riffs on his signature skull-headed companion figure, sometimes blown up to monumental proportions; various street wear and toy collaborations, all displayed reverentially; and videos showing some of the artist’s more ambitious recent public interventions.

For those who haven’t booked their ticket—or just still nervous about the trip to the museum—we’ve rounded up some pictures of the highlights of “What Party.” Enjoy!

KAWS, <em>Along the Way</em> (2013). (Photo by Ben Davis)

KAWS, Along the Way (2013) in the lobby of the Brooklyn Museum. (Photo by Ben Davis)

Entry to "KAWS: What Party" at the Brooklyn Museum. (Photo by Ben Davis)

Entry to “KAWS: What Party” at the Brooklyn Museum. (Photo by Ben Davis)

Wallpaper showing a preparatory drawing for a KAWS painting. (Photo by Ben Davis)

Wallpaper showing a preparatory drawing for a KAWS painting. (Photo by Ben Davis)

Entry to "KAWS: What Party" at the Brooklyn Museum. (Photo by Ben Davis)

Entry to “KAWS: What Party” at the Brooklyn Museum. (Photo by Ben Davis)

Collection of ephemera from early in KAWS's career. (Photo by Ben Davis)

Collection of ephemera from early in KAWS’s career. (Photo by Ben Davis)

Book from KAWS's graffiti career (ca. 1990s). (Photo by Ben Davis)

Book from KAWS’s graffiti days (ca. 1990s), showing his signature tag. (Photo by Ben Davis)

Book from KAWS's graffiti career (ca. 1990s). (Photo by Ben Davis)

Book from KAWS’s graffiti career (ca. 1990s). (Photo by Ben Davis)

Installation view of "KAWS: What Party" at the Brooklyn Museum. (Photo by Ben Davis)

Installation view of “KAWS: What Party” at the Brooklyn Museum. (Photo by Ben Davis)

KAWS, <em>Untitled (Haring)</em> (1997). (Photo by Ben Davis)

KAWS, Untitled (Haring) (1997). (Photo by Ben Davis)

KAWS, <em>Untitled (Maidenform)</em> (1999), <em>Untitled (DKNY)</em> (1999), and <em>Untitled (DKNY)</em> (1997). (Photo by Ben Davis)

KAWS, Untitled (Maidenform) (1999), Untitled (DKNY) (1999), and Untitled (DKNY) (1997). (Photo by Ben Davis)

KAWS, Small K Landscape (2001), Small K Landscape (2001), Small B Landscape (2001), and Small H Landscape (2001). (Photo by Ben Davis)

KAWS, Small K Landscape (2001), Small K Landscape (2001), Small B Landscape (2001), and Small H Landscape (2001). (Photo by Ben Davis)

Installation view of "KAWS: What Party" at the Brooklyn Museum. (Photo by Ben Davis)

Installation view of “KAWS: What Party” at the Brooklyn Museum. (Photo by Ben Davis)

KAWS, <em>Untitled (Kimpsons)</em> from the "Package Painting Series" (2001). (Photo by Ben Davis)

KAWS, Untitled (Kimpsons) from the “Package Painting Series” (2001). (Photo by Ben Davis)

KAWS, <em>Untitled (Kimpsons #2)</em> (2004) and <em>Untitled (Kimpsons)</em> (2004). (Photo by Ben Davis)

KAWS, Untitled (Kimpsons #2) (2004) and Untitled (Kimpsons) (2004). (Photo by Ben Davis)

KAWS, <em>The Kaws Album</em> (2005). (Photo by Ben Davis)

KAWS, The Kaws Album (2005). (Photo by Ben Davis)

KAWS, <em>Kawsbob 3</em> (2007). (Photo by Ben Davis)

KAWS, Kawsbob 3 (2007). (Photo by Ben Davis)

KAWS, <em>Man's Best Friend</em> (2014). (Photo by Ben Davis)

KAWS, Man’s Best Friend (2014). (Photo by Ben Davis)

KAWS, <em>Kurfs (Cloud)</em> (2007) and <em>Kurfs (Papa)</em> (2007). (Photo by Ben Davis)

KAWS, Kurfs (Cloud) (2007) and Kurfs (Papa) (2007). (Photo by Ben Davis)

KAWS, <em>Companion (Resting Place)</em> (2013). (Photo by Ben Davis)

KAWS, Companion (Resting Place) (2013). (Photo by Ben Davis)

KAWS, Companion (Original Fake) (2011). (Photo by Ben Davis)

KAWS, Companion (Original Fake) (2011). (Photo by Ben Davis)

KAWS, <em>Chum (KCB4)</em> (2012) and <em>CHUM</em> (2008). (Photo by Ben Davis.)

KAWS, Chum (KCB4) (2012) and CHUM (2008). (Photo by Ben Davis.)

KAWS, <em>New Morning</em> (2012) and <em>Gone</em> (2020) (Photo by Ben Davis)

KAWS, New Morning (2012) and Gone (2020) (Photo by Ben Davis)

Installation view of "KAWS: What Party" at the Brooklyn Museum. (Photo by Ben Davis)

Installation view of the toy section in “KAWS: What Party” at the Brooklyn Museum. (Photo by Ben Davis)

KAWS-designed MTV "Moonman" trophy. (Photo by Ben Davis)

KAWS-designed MTV “Moonman” trophy. (Photo by Ben Davis)

Display of vinyl figures by KAWS. (Photo by Ben Davis)

Display of vinyl figures by KAWS. (Photo by Ben Davis)

Display of KAWS Vans. (Photo by Ben Davis)

Display of KAWS-branded Vans. (Photo by Ben Davis)

KAWS-designed "I Voted" buttons for the 2020 election. (Photo by Ben Davis)

KAWS-designed “I Voted” buttons for the 2020 election. (Photo by Ben Davis)

Display of vinyl figures by KAWS. (Photo by Ben Davis)

Display of vinyl figures by KAWS. (Photo by Ben Davis)

KAWS, <em>Untitled (Real)</em> and <em>Untitled (Fake)</em> and KAWS x Real Skateboards, <em>Real Skateboard</em> (2007) in case. (Photo by Ben Davis)

KAWS, Untitled (Real) and Untitled (Fake) and KAWS x Real Skateboards, Real Skateboard (2007) in case. (Photo by Ben Davis)

KAWS and Estudio Campana, <em>KAWS: Gang (Sofa)</em> (2019). (Photo by Ben Davis)

KAWS and Estudio Campana, KAWS: Gang (Sofa) (2019). (Photo by Ben Davis)

KAWS, <em>CHUM (KCC7)</em> (2019). (Photo by Ben Davis)

KAWS, CHUM (KCC7) (2019). (Photo by Ben Davis)

KAWS, <em>Born to Bend</em> (2013). (Photo by Ben Davis)

KAWS, Born to Bend (2013). (Photo by Ben Davis)

KAWS, <em>Mirror</em> (2018) and <em>Score Years</em> (2019). (Photo by Ben Davis)

KAWS, Mirror (2018) and Score Years (2019). (Photo by Ben Davis)

KAWS, <em>Separated</em> (2019). (Photo by Ben Davis)

KAWS, Separated (2019). (Photo by Ben Davis)

KAWS, <em>Separated</em> (2019) with works from the "Urge" series in the background. (Photo by Ben Davis)

KAWS, Separated (2019) with works from the “Urge” series in the background. (Photo by Ben Davis)

KAWS, <em>Tide</em> (2020). (Photo by Ben Davis)

KAWS, Tide (2020). (Photo by Ben Davis)

KAWS, <em>Take</em> (2020). (Photo by Ben Davis)

KAWS, Take (2020). (Photo by Ben Davis)

KAWS, <em>The News</em>(2017). (Photo by Ben Davis)

KAWS, The News (2017). (Photo by Ben Davis)

KAWS, preparatory sketches for <em>The News</em> (2017). (Photo by Ben Davis)

KAWS, preparatory sketches for The News (2017). (Photo by Ben Davis)

KAWS, <em>Alone Again</em> (2016) and <em>Lost Time</em> (2016). (Photo by Ben Davis)

KAWS, Alone Again (2016) and Lost Time (2016). (Photo by Ben Davis)

Installation view of "KAWS: What Party" at the Brooklyn Museum. (Photo by Ben Davis)

Installation view of “KAWS: What Party” at the Brooklyn Museum. (Photo by Ben Davis)

KAWS, <em>Final Days</em> (2014). (Photo by Ben Davis)

KAWS, Final Days (2014). (Photo by Ben Davis)

Figurines for sale in the gift shop for "KAWS: What Party" at Brooklyn Museum, already sold out. (Photo by Ben Davis)

Figurines for sale in the gift shop for “KAWS: What Party” at Brooklyn Museum, already sold out. (Photo by Ben Davis)

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