The Thirty Six for Coral auction runs through June 22. A special gala event in Cap Ferrat on June 20th features 10 lots that will be auctioned off live & via-live stream for bidders that cannot attend in person. All proceeds benefit coral reefs. To learn more visit www.forcoral.org

Bid to create a future for coral reefs. 

<b>DEBORAH KASS</b><div><br></div><div>VOTE HILLARY	</div><div><br></div><div><br></div><div>Silkscreen Ink on Paper</div><div><br></div><div>44 x 44 inches&nbsp;</div><div><br></div><div><br></div><div>Walking the line between respectful homage and tongue-in-cheek appropriation, Deborah Kass mimics and reworks the signature styles of iconic 20th-century male artists including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha; in the process, she comments on the patriarchal narratives and subject matter that have dominated art history. Kass is perhaps best known for her riffs on Warhol’s famous color-blocked screenprints, but her practice has also included text-based works, neon signs, sculptures, photographs, and paintings—all united by a feminist approach. Kass has exhibited in cities across the world, and her work belongs in the collections of the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art.&nbsp;</div>

DEBORAH KASS  |  VOTE HILLARY

<p>The Coral Collective brings some of the worldʼs most celebrated artists together with its Thirty Six for Coral exhibition and sale.</p><p>The online auction opens on May 28th and bidding will remain open until June 22nd.  Ten pieces will be selected for a live auction on June 20th.  Bidders will be informed on June 19th which pieces will be in the live auction and are able participate in the live auction online via livestream from Cap Ferrat.</p><p>Thirty Six for Coral is being exhibited at the iconic Grand Hôtel du Cap-Ferrat in the South of France from June 12-20. This immersive exhibition brings together 36 celebrated artists whose stunning works will serve as a powerful call to action for global conservation efforts for coral reefs, the rainforests of the sea.  Thirty Six for Coral aims to raise global awareness and secure essential funding for protection and restoration of one of the most critically endangered ecosystems on Earth.</p><p>Thirty Six for Coral has been made possible by the Pavoncelli Foundation.   We would also like to thank Hedley's and OMOSS for their support.</p><p>To learn about conservation impact being made,  please visit:  <a href="https://www.forcoral.org/impact" target="_blank">https://www.forcoral.org/impact</a></p><p>For enquiries, please contact: michele@weareprojectzero.org</p><p></p>


<p><b>PHILIP COLBERT</b></p><div><br></div><div><i>The Coral Lobster</i></div><div><i><br></i></div><div><i><br></i></div><div>Acrylic</div><div><br></div><div>95.5 x 79.7 x 5 cm</div><div><i><br></i></div><div><i><br></i></div><div><i>2025</i></div><div><i><br></i></div><div><i><br></i></div><div>Philip Colbert’s tongue-in-cheek practice combines references to Pop icons such as Andy Warhol and Roy Lichtenstein with the compositional techniques of Old Masters such as Peter Paul Reubens and Anthony Van Dyck, all shot through with the psychologically probing humor of the Surrealists. His canvases collage recognizable such pop-cultural imagery as Captain America’s shield and branded Lacoste hoodies in jam-packed tableaux full of wry humor, often featuring his signature lobster character. Colbert occasionally translates his multilayered canvases to three-dimensional sculptural and installation works. He has exhibited in London, Busan, Seoul, Shanghai, Hong Kong, Tokyo, Los Angeles, and Miami, and his work has been exhibited at institutions including the Van Gogh Museum, the Modern Art Museum, Shanghai, and the Multimedia Art Museum in Moscow.</div><div><br></div><div><br></div><div><br></div><div><br></div><p></p>


PHILIP COLBERT  |  The Coral Lobster

<p><b>CAVIER COLEMAN</b></p><div><br></div><div><i>Coral Uprising	</i></div><div><br></div><div><br></div><div>Acrylic latex, oil pastel, graphite, paper collage on canvas</div><div><br></div><div>56 x 56 inches&nbsp; &nbsp;</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Cavier Coleman is a multidisciplinary artist whose work bridges fine art, fashion, photography, and street culture. Known for layering visual metaphors and subversive iconography, his work challenges conventional boundaries of genre, identity, and representation. With a background in communications and a visual style that merges charm with critical commentary, Coleman explores themes of cultural memory, futurism, race, and power structures through painting, installation, design, and new media.</div><div><br></div><div>His practice is rooted in storytelling, often using abstraction, text, and portraiture to uncover hidden meanings and social tensions. Equally comfortable within white-wall galleries and unconventional spaces, Coleman has exhibited internationally—from Bali to Mexico City, Los Angeles to Havana—while collaborating with global brands, agencies, and nonprofits. He has produced solo installations, public murals, and commercial campaigns, and his work has been featured at high-profile venues such as the World Trade Center, Saks, and Sotheby’s.</div><div><br></div><div>In addition to a robust exhibition history, he has been profiled in numerous publications, including Forbes, Interview Magazine, L’uomo Vogue, and HYPEBEAST. Coleman continues to expand his interdisciplinary vision, positioning himself as a voice of his generation and working toward his goal of becoming a household name in the contemporary art world.</div><p></p>


CAVIER COLEMAN  |  Coral Uprising

<p><b>SHEZAD DAWOOD</b></p><div><br></div><div><i>Ghost Reef I&nbsp;</i></div><div><br></div><div><br></div><div><span>Composite sand print and luminescent paint finishes.&nbsp;</span></div><div>226 x 120 x 90 cm&nbsp;<span>(Including base: 30 x 80 x 70 cm)</span></div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Courtesy of the artist</div><div><br></div><div>Portrait copyright of Jonathan Glynn Smith</div><p></p>


SHEZAD DAWOOD  |  Ghost Reef I

<p><b>WALTON FORD</b></p><div><br></div><div><i>Study for Bisclavret	</i></div><div><br></div><div><br></div><div>Watercolor, gouache, and ink on paper</div><div><br></div><div>42.54 x36.83cm&nbsp;&nbsp;</div><div><br></div><div>Framed&nbsp;</div><div><br></div><div>2022</div><div><br></div><div><br></div><div>Turning the work of naturalist and painter John James Audubon on its head, Walton Ford imbues the flora and fauna in his own watercolors and prints with sex, violence, and melodrama. His aim is to satirically comment on the history of colonialism, slavery, and other forms of oppression. The beauty and naturalism of his meticulously rendered scenes belie their comedic grotesqueness. As he explains, “I think that there’s almost no subject that you can’t treat with some humor, no matter how brutal it can seem.”</div><p></p>


WALTON FORD  |  Study for Bisclavret

<p><b>JEMIMA KIRKE</b></p><p><i>Fickle Flags</i></p><p><br></p><p>Mixed Media</p><p>2008</p><p><br></p><p><br></p>


JEMIMA KIRKE  |  Fickle Flags

<p><b>BETH O'DONNELL</b></p><div><br></div><div><i>Project Zero: A Gathering Storm of Force &amp; Fury	</i></div><div><br></div><div><br></div><div>Encaustic wax, oil and pen on Japanese rice paper&nbsp;</div><div><br></div><div>38 x 86 inches</div><div><br></div><div>2024</div><div><br></div><div>Beth began combining photography with encaustic wax at a joint workshop offered by the Center of Photography at Woodstock and R&amp;F Paints in Kingston NY, in 2005.Her most recent mixed media art is inspired by the natural light and landscapes nearby her studio on the East End of Long Island. Using encaustic wax and pigmented oil sticks to add texture mounted on an array of papers and panels, O' Donnell captures ethereal geometric forms and abstract landscapes. Prior, Beth O'Donnell studied photography at the Evanston Art Center in Evanston, Illinois and The International Center for Photography in New York City. Her photojournalistic work in Africa, for which she spent months in 2000 working in the slums of Nairobi, Kenya, was published in The London Daily Telegraph and Marie Claire magazines. She has also been published in The Financial Times and has appeared twice as a guest on Oprah Winfrey's Oxygen Network, for "Angels in the Slums" and "AIDS and Orphans.” O'Donnell exhibited work at the United Nations in conjunction with the Istanbul +5 Conference and her photographs have been auctioned at several major philanthropic events around the United States.</div><p></p>


BETH O'DONNELL  |  Project Zero: A Gathering Storm of Force & Fury

<b>MAURO PERUCCETTI</b><div><br></div><div><i>SUPERFICI	</i></div><div><br></div><div><br></div><div>Mixed Media</div><div><br></div><div>93 x 93 cm&nbsp;&nbsp;</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>A Pop artist for the 21st Century, Mauro Perucchetti addresses pressing societal issues and conveys the pulse of contemporary culture: Barbie, Sex and the City, and the global economy have all found their way into his artwork. For instance, the birth of Dolly, the first cloned animal, and the ensuing debate over the ethics of cloning, prompted him to create “Jelly Babies”, figurines bearing resemblance to the Pillsbury Doughboy that serve as a metaphor for cloned human beings. Like Andy Warhol, Jeff Koons, and Piero Manzoni, whom his work playfully references, Peruchetti uses bright colors, recognizable shapes, and smooth shiny surfaces to entice his viewers. Perucchetti has worked with diverse materials, ranging from Swarovski crystals to steel, but over five years developing his technique of working with pigmented resin has made it his signature. To paint in 3D, the former architect turned contemporary artist let nature inspire him to create luscious textural surfaces that immerse the viewer in a sea of colours, shadows and highlights. His groundbreaking approach coupled with a vibrant palette give the effect of an organic, living topography that pulls the viewer in and allows one to have a different experience every time a Perucchetti 3D painting is seen. Viewers marvel in the fact each of his SUPERFICI artworks never look the same twice, much like the wonder of nature that it honors and celebrates. Ultimately, SUPERFICI is Perucchetti’s love letter to nature, one that reaffirms his commitment to using his art to help protect it.</div><div><br></div><div><br></div><div><i>"Addressing climate change is crucial now more than ever. Seeing surfaces of earth, caves, volcano eruptions, coral reefs eroding, deforestation and wildfires, we need to respect planet earth. Being in nature has always been my heaven on earth." </i>Mauro Peruccetti</div>

MAURO PERUCCETTI  |  SUPERFICI

<p><b>MARC QUINN</b></p><div><br></div><div><i>Before and After Humans (The Paleozoic Era) Salt Water</i>&nbsp;</div><div>&amp;&nbsp;</div><div><i>Before and After Humans (The Paleozoic Era) Fresh Water&nbsp;</i></div><div><i><br></i></div><div><br></div><div>Both items:</div><div>Pigment print on 300gsm Somerset Photo paper</div><div><br></div><div>Diameter: 85cm&nbsp;</div><div><br></div><div>Ed. 10 of 50, both framed&nbsp;</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>Marc Quinn expands the material and conceptual possibilities of sculpture. He emerged in the 1990s as part of the iconoclastic group of Young British Artists and is best known for his unusual, organic media: He’s made art from frozen flowers, slides of human DNA, and—in his self-portraits—his own frozen blood. Quinn has also embraced provocative subject matter and made monumental depictions of disabled and transgender subjects. Quinn studied art history at the University of Cambridge and has exhibited in London, New York, Paris, Milan, Seoul, Tokyo, and other cities. His work belongs in the collections of the Tate, the Centre Pompidou, the Stedelijk Museum, the Astrup Fearnley Museum of Modern Art, the Museum of Modern Art, and the Metropolitan Museum of Art.</div><p></p>


DEBORAH KASS | VOTE HILLARY

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