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. 

<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>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>


<b>ROB &amp; NICK CARTER</b><div><i><br></i></div><div><i>Valle della Luna II, Capo Testa, Sardinia&nbsp;</i></div><div><i><br></i></div><div><br></div><div>Framed Cibachrome print&nbsp;</div><div><br></div><div>50 x 50 in</div><div><br></div><div>2007</div><div><i><br></i></div><div><i><br></i></div><div>Rob and Nick Carter are a husband and wife artistic duo who have been collaborating for over 20 years. The Carter’s work is centered on the boundaries between the analogue and the digital and has taken many mediums including camera-less photography, painting, installation, neon, sculpture and time-based media. Their acclaimed Transforming series has been 10 years in the making and creates a unique intersection between the art of the past and cutting edge computer generated imagery.&nbsp;</div><div><br></div><div>Their work is housed in the collections of the Frick, Pittsburgh; Mauritshuis, The Hague; Frans Hals Museum, Haarlem; Victoria &amp; Albert Museum, London; David Roberts Foundation, London; Städel Museum, Frankfurt; and the Fondation Custodia, Paris, as well as being the only living artists to show a work at the Frick Museum, New York.</div>

ROB & NICK CARTER  |  Valle della Luna II, Capo Testa, Sardinia 

<b>CHARLOTTE COLBERT</b><div><br></div><div><i>Out With Lanterns</i></div><div><i><br></i></div><div><i><br></i></div><div>Stainless steel</div><div><br></div><div>Height 50cm</div><div><br></div><div>2025</div><div><br></div><div><br></div><div>'Out With Lanterns', a riff on Emily Dickinson’s famous line “I am out with lanterns looking for myself,” playfully references the archetypal nature of all fairy tales—ultimate origin stories which shed light or guidance on our narratives of identity. "Fairy tales feel like narratives of our universal unconscious, in a similar way to tarot, symbols and archetypes," says Colbert. A small angel-like figure braves giant waves, morphing into swan-like creatures—in this epic quest of self-discovery. “The girl is small, the waves are big but maybe they can be reimagined not as a drowning force but as something which might allow you to fly.”</div>

CHARLOTTE COLBERT  |  Out With Lanterns

<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>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

<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><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>


SHEZAD DAWOOD | Ghost Reef I

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