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Jb Elite Services Our company was born 5 years ago, in Queens, NYC. Our team consists of highly qualified and experien

The morning after Thanksgiving, 1985. A man and a woman walked into the University of Arizona Museum of Art as it opened...
10/14/2026

The morning after Thanksgiving, 1985. A man and a woman walked into the University of Arizona Museum of Art as it opened. She distracted the guard. He went upstairs, cut a de Kooning out of its frame, and rolled it up. They were gone in minutes.

Woman-Ochre stayed missing for thirty-two years. In 2015 the museum marked the anniversary by displaying the empty frame it had been torn from. No leads, no arrests, just an absence.
Then in 2017, an antique shop in Silver City, New Mexico, forty miles away. The owners found it in an estate sale, recognized what they were holding, and called the museum. Then the FBI.
The canvas carried real damage. Cut, rolled, and crudely reframed by the thieves themselves. Getty conservators spent three years bringing it back.

In fall 2022 it traveled from Los Angeles to Tucson with a federal es**rt, handled the way an irreplaceable work should be.
Some pieces survive the theft. What they can't survive is careless handling.

THE MOVING ART 🚛🖼️
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Eleven hand-blown glass globes, each one a different color and curve, mounted one by one onto a brass armature under a b...
10/07/2026

Eleven hand-blown glass globes, each one a different color and curve, mounted one by one onto a brass armature under a beamed ceiling.

Light sculptures like this arrive as parts in a crate. Every shade seated, every arm aligned, every bulb wired and tested before anyone looks up at it.

Numbered, gloved, hung. Then it just looks easy.

THE MOVING ART 🚛🖼️
jbeliteservices.net

Harlem, 1990. Self paints with a needle as much as a brush. Sewn fabric, collaged printed paper, painted canvas, all bui...
10/02/2026

Harlem, 1990. Self paints with a needle as much as a brush. Sewn fabric, collaged printed paper, painted canvas, all built up into figures that hold the surface like bodies hold a room. Her characters aren't portraits of anyone. They're collages of people and references pulled from across her life, assembled into archetypes that answer to no one.

She has become steadfast about beauty, treating it as a form of resistance rather than decoration. The work accepts and rejects the fantasies projected onto the Black body at the same time, and imagines a space where those bodies exist for their own pleasure, free from the othering gaze. Her figures don't explain themselves.
Of her own intent she has said simply: "to show the beauty and complexity of the Black American character."

Barely a decade out of her Yale MFA, 2026 put her in two of the most visible commissions in contemporary art: Lady in Blue on the Fourth Plinth in Trafalgar Square, and a facade project at the New Museum. Her first solo with Petzel lands this fall.
Thread holds. So does the figure.

THE MOVING ART 🚛🖼️
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T$CH@B@LALA S£LF Petzel

Brooklyn. Belanger builds a world that looks soft and isn't. Ceramics in dusty pink and buttery tan: manicured hands wit...
09/28/2026

Brooklyn. Belanger builds a world that looks soft and isn't. Ceramics in dusty pink and buttery tan: manicured hands with fingers too long, oversized pills, furniture that has started to grow a body. The palette invites you in. What's underneath is a critique of consumption, desire, and the machinery of advertising.

She came to it sideways. Photography and fashion first, then years as a commercial prop stylist before an MFA at Hunter. That training shows. She knows exactly how an object is staged to make you want it, and she turns the technique against itself.

She describes her work as a reflection of the contradictions we navigate every day, "where life can be both exhilarating and devastating at the same time." Not opposites, she says. They coexist.

Heads or Tails, her first major public exhibition in New York, is on view at City Hall Park through November 15.
Soft surfaces. Sharp teeth.

THE MOVING ART 🚛🖼️
jbeliteservices.net

Genesis Belanger Perrotin Gallery Public Art Fund

New York doesn't stop for anyone. Neither do we.The trucks behind every move, every route, every piece delivered with th...
09/25/2026

New York doesn't stop for anyone. Neither do we.
The trucks behind every move, every route, every piece delivered with the same precision it left with.

THE MOVING ART 🚛🖼️
jbeliteservices.net

09/23/2026

Handling a Basquiat isn't just installation. It's responsibility.

Every placement considered. Every measurement checked twice. When the piece is irreplaceable, there's no room for anything less than precision.

THE MOVING ART 🚛🖼️
jbeliteservices.net

Four services. One standard.01. Packing & Custom Crating — foam cut to exact form, color-coded handling, built around ga...
09/10/2026

Four services. One standard.

01. Packing & Custom Crating — foam cut to exact form, color-coded handling, built around galleries, museums, and high-value pieces.

02. Art Installation & Staging — paintings, sculptures, chandeliers, furniture. In residences, galleries, and fairs.

03. Secure Storage — climate-controlled and fully insured. A home for a collection between exhibitions, moves, and renovations.

04. Shuttles & Delivery — monthly consolidated routes between NYC, Miami, and North Carolina, with white-glove delivery beyond.

Tailored for galleries, fairs, and private collections. We move your masterpieces with the care they deserve. Tell us what you're moving — we'll take it from there.

THE MOVING ART 🚛🖼️
jbeliteservices.net

DAVID WISEMAN — Where craft meets wilderness.California. Trained at RISD, Wiseman built a practice around a single convi...
09/07/2026

DAVID WISEMAN — Where craft meets wilderness.

California. Trained at RISD, Wiseman built a practice around a single conviction: that ornament isn't excess, it's language. Branches, blossoms, honeycombs, crystalline structures and ocean swells — pulled out of the natural world and cast into bronze, porcelain, terrazzo and glass.

"I have always been drawn to nature in my work. Magnificent patterns abound. From crystalline structures to honeycombs, and cell formations to ocean swells."

The range is unusual. Collage Chandelier (2014), a bronze branch strung with porcelain blossoms, crystal and glass, made for Rhode Island School of Design — the same piece RISD chose to honor him with this year. The Water Jali Three-Legged Table, a one-of-a-kind lattice cast in bronze with terrazzo and granite, its pattern drawn from traditional jali screens. El Tecolote, a porcelain and bronze owl, part of an ongoing dialogue with the natural world that runs through everything he makes.

And most recently, The Four Seasons of Flower Fruit Mountain — a cascading porcelain wisteria chandelier for a private residence in Hong Kong, and his most ambitious work to date. Four thousand petals, each one sculpted by hand.

His first Hong Kong solo exhibition, Nature as Refuge, is on view at HOMEART through September 23, 2026.
Nature, cast in bronze and porcelain.

THE MOVING ART 🚛🖼️
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David Wiseman

Numbered tape, black gloves, one sphere at a time. Blown and solid glass, iridized surfaces, 23k gold accents — seated i...
08/31/2026

Numbered tape, black gloves, one sphere at a time. Blown and solid glass, iridized surfaces, 23k gold accents — seated in sequence until the column reads as a single object.

Jamie Harris's Totem Series, installed for Todd Merrill Studio at The Salon Art + Design 2024. Harris describes working color into glass as a "science of prediction: anticipating how the color of a bubble blown at the furnace will dilute days later."

Nothing about a piece like this is repeatable. Which is exactly why it's handled the way it is.

THE MOVING ART 🚛🖼️
jbeliteservices.net

Jamie Harris Todd Merrill Studio Salon Art + Design

Yayoi Kusama (1929–2026).The woman who saw the universe in a single dot.She was born in 1929 in Matsumoto, Japan, into a...
08/28/2026

Yayoi Kusama (1929–2026).
The woman who saw the universe in a single dot.

She was born in 1929 in Matsumoto, Japan, into a family that ran a plant nursery. As a child, she began seeing things no one else could — fields of polka dots spreading across her room, her hands, her body, until they swallowed the whole world. What might have broken someone else became the foundation of one of the most singular visions in modern art. She didn't run from those hallucinations. She painted her way through them.

In 1958 she arrived in New York with almost no money and her paintings sewn into her clothing. There she built her Infinity Nets — vast canvases made from a single gesture repeated for forty, fifty hours without pause. Then she broke past the canvas entirely: soft sculptures, mirrored spheres she scattered uninvited across the Venice Biennale, radical happenings, and finally the Infinity Mirror Rooms — spaces of light and reflection that made a single room feel endless.

Behind every dot, every pumpkin, every mirror was one idea she never stopped chasing: self-obliteration — repetition until the boundary between the self and the universe simply dissolves.
For decades she was overlooked. She returned to Japan, and from 1977 lived and worked by choice in a Tokyo hospital, never setting down her brush. And then the world caught up — she became one of the best-selling artists alive, filling museums across the globe and turning the humble polka dot into a language millions could step inside. She painted until her final days.

"I think I will be able to, in the end, rise above the clouds and climb the stairs to heaven, and I will look down on my beautiful life."
— Yayoi Kusama

The entire JB Elite team joins in honoring the memory of a legend whose work redefined what art could be.
Forever, Yayoi.

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THE MOVING ART 🚛🖼️
jbeliteservices.net

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Monday 9am - 7pm
Tuesday 9am - 7pm
Wednesday 9am - 7pm
Thursday 9am - 7pm
Friday 9am - 7pm

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+17189648371

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