Acquisition Packets: Museums, corporate collections, and large-scale private collections

Bring a piece of art history into your institution’s collection today. Zane Bennett is proud to present sculptural artwork and works on paper by internationally-recognized artists. See below for details on currently available work for acquisition and/or exhibition.

 

To enquire further on any or all below proposals, or to request to be updated when new works are available, please contact Isabella Beroutsos:

 

CONTACT:

Isabella Beroutsos, Museum Liaison, Sales

  • Jaune Quick-to-See Smith | Trade Canoe: A Western Fantasy, Currently in the collections of the Orlando Museum of Art

    Jaune Quick-to-See Smith | Trade Canoe: A Western Fantasy

    Currently in the collections of the Orlando Museum of Art

    Please enquire if interested in additional editions of Trade Canoe: A Western Fantasy. Zane Bennett has recently acquired two of Quick-to-See's magnificent print.

    Jaune Quick-to-See Smith, artist page
  • Boon, Guy Dill

    Boon on display outside form & concept (2021)

    Boon

    Guy Dill

    Constructed in 2008, thirty-some years after Guy Dill graduated from California’s Chouinard Institute of Art and received the Theodoran Award at the Solomon R. Guggenheim Museum, Boon embodies the artist’s remarkable way with industrial materials, a thread consistent throughout his career. 

     

    MATERIAL: Bronze with concrete pedestal

    DIMENSTIONS: 10 x 5.8 x 5 ft  (3.1 x 1.8 x 1.52 m)

    OF NOTE: Display Boon indoors or outdoors. Guy Dill is available for on-site installation and inspection.

  • Four Sites of Return (exhibition), Nikesha Breeze

    The Arc of Return, installation at form & concept (2021)

    Four Sites of Return (exhibition)

    Nikesha Breeze

    In Four Sites of Return: Ritual | Remembrance | Reparation | Reclamation, interdisciplinary artist Nikesha Breeze distills decades of creative output and crystallizes deep truths of the Black experience through visual art and ritual performance. For Breeze, Four Sites of Return also represents a mantle passed from their own ancestors in Blackdom, New Mexico, a turn of the century freedom colony with a remarkable American story. Throughout Four Sites of Return, Breeze works fluidly across a wide range of mediums including large-scale figurative painting and drawing, clay and bronze sculpture and mixed-media installation art. The 5,000-square-foot exhibition features six monumental series, representing elements of the titular “Sites of Return.” 

     

  • El Volkswagen, Priscilla Dobler Dzul

    Priscilla Dobler Dzul, El Volkswagen, installation at form & concept (2020)

    El Volkswagen

    Priscilla Dobler Dzul

    El Volkswagen is a stellar embodiment of Priscilla Dobler Dzul's artistic practice: deconstructing familiar objects and spaces with fraught histories, only to reconstruct them using materials and techniques of indigenous Mayan agricultural traditions. Politicizing the traditionally-feminine nature of weaving, Dobler Dzul challenges viewers to explore manufacturing and cultural backgrounds of objects in daily life. The strikingly colorful beauty of the life-sized El Volkswagen is only the surface of a fascinating, yet troublesome, history.

     

    MATERIAL: Wood, thread, audio

    DIMENSIONS: 132 x 5 x 61.5 in (335.3 x 12.7 x 165.2 cm) 

    OF NOTE: Sensory-activated soundscape projected from inside the car. Doors open and close.

     

  • The Solacii, Tigre Mashaal-Lively

    Tigre Mashaal-Lively, The Solacii, installation at Burning Man, Black Rock Desert, NV (2017)

    The Solacii

    Tigre Mashaal-Lively

    The Solacii is an interactive art piece that combines elements of reverent sculpture, sacred space, and responsive design. “The inspiration for this steel form was the interconnectedness you find throughout nature,” writes lead artist Tigre Mashaal- Lively. “We looked at mycelia, the networks underneath mushrooms; we looked at vines and plants; we looked at neurons and veins, the networks that are within our own bodies.”

     

    MATERIAL: Steel, resin, lights, sound, donated and reclaimed clothing and fabrics.

    DIMENSIONS: Height: 21 ft (6.4 m) | Base: 8 x 9 ft (2.74m)

     

  • The Enculturated White Man, Tamara Burgh

    Tamara Burgh, The Enculturated White Man, installation at form & concept (2020)

    The Enculturated White Man

    Tamara Burgh

    A fifteen-year project, The Enculturated White Man: If Early America Had Embraced the Noble Savage Instead of Attempting to Destroy Him by Tamara Burgh (Swede/Inupiat-Kawerak) seeks to artistically answer the question "What if the Indians had won?" Representing an America where the white man adopted Indian symbolism in art and dress, rather than seek to eliminate it, The Enculturated White Man comprises fourteen standing, totem-like sculptures and two wall-hanging pieces. The series suggests a revisionist history of colonial America through a deeply manual meditation on the role of aesthetics in shaping cultural sensibility.  

     

    MATERIALS: Mixed media. Burgh incorporated countless traditional and contemporary methods: Indigenous and early American methods of needlework, colonial pigment-making, wood inlay, mosaic work and fur trapping, among others.

    DIMENSIONS: Sculptures range in size.

     

  • Model of Motions, Sama Alshaibi & Michael Fadel

    Sama Alshaibi and Michael Fadel, Model of Motions installation at form & concept (2021)

    Model of Motions

    Sama Alshaibi & Michael Fadel

    Model of Motions is a collaboration between artists Sama Alshaibi and Michael Fadel. The multi-media installation includes Swell, a kinetic wood and metal vessel filled with white sand that undulates; and Footsteps, which features a protagonist futilely rowing an oar in an endless white desert. Model of Motions is a satellite installation for the CURRENTS New Media Festival 2021.

     

    CONTENTS: Sculpture accompanied by single-channel color video.

    MATERIALS: Anchor, gypsum sand, wood, and mechanical elements.

    DIMENSIONS: Sculpture: 57 x 14 x 45 in | 144.8 x 35.6 x 114.3 cm. 

      

  • Hand Tools of Resilience, An Internationally Juried Exhibition

    Tintawi Kaigziabiher, Osainyin’s Rattle (2021)

    Hand Tools of Resilience

    An Internationally Juried Exhibition

    Hand Tools of Resilience invited African diasporic and Indigenous artists to examine the conscious and unconscious tools that Black and Indigenous people have created to survive, thrive and build within oppressive and abusive systems. They are tools that might extinguish gaslighting and passive racist treatment, shields that represent covert and overt armor and talismans, wedges for loosening systems of supremacy and abuse or chisels for shaping new Black and Indigenous realities. Convened by Nikesha Breeze, the jury included Indigenous artist Rose B. Simpson; Ghanaian artist and activist Kwame Akoto-Bamfo; artist Le’Andra LeSeur, and independent curator Isra Rene.

     

    CONTENTS: 20 mixed media works by 18 artists.

    SIZE: Small to mid-size space required.