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Tomaselli, Fred. (b. 1956). [Gregory Volk & Arthur Solway]. Fred Tomaselli - SIGNED. New York: James Cohan Gallery. 2000. First Edition; First Printing. Hardcover catalogue, signed to the half title in bold black ink "Fred Tomaselli / May 1, 2014." Dark blue cloth with gilt titles, as issued without dj. With numerous full page color plates and an essay by Gregory Volk, published on the occasion of the exhibition, December 2, 2000 - January 13, 2001. Boards a little stained, otherwise a tight, clean and crisp copy. 12.28 x 9.28 x 0.45 inches. 50pp. 

A good signed catalogue from the American artist best known for his highly detailed paintings on wood panels, combining an array of unorthodox materials suspended in a thick layer of clear, epoxy resin. Tomaselli sees his paintings and their compendium of data as windows into a surreal, hallucinatory universe. “It is my ultimate aim”, he says, “to seduce and transport the viewer in to space of these pictures while simultaneously revealing the mechanics of that seduction.” 

Tomaselli, Fred. (b. 1956). [Gregory Volk & Arthur Solway] Fred Tomaselli - SIGNED

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Tomaselli, Fred. (b. 1956). [Gregory Volk & Arthur Solway]. Fred Tomaselli - SIGNED. New York: James Cohan Gallery. 2000. First Edition; First Printing. Hardcover catalogue, signed to the half title in bold black ink "Fred Tomaselli / May 1, 2014." Dark blue cloth with gilt titles, as issued without dj. With numerous full page color plates and an essay by Gregory Volk, published on the occasion of the exhibition, December 2, 2000 - January 13, 2001. Boards a little stained, otherwise a tight, clean and crisp copy. 12.28 x 9.28 x 0.45 inches. 50pp. 

A good signed catalogue from the American artist best known for his highly detailed paintings on wood panels, combining an array of unorthodox materials suspended in a thick layer of clear, epoxy resin. Tomaselli sees his paintings and their compendium of data as windows into a surreal, hallucinatory universe. “It is my ultimate aim”, he says, “to seduce and transport the viewer in to space of these pictures while simultaneously revealing the mechanics of that seduction.”