Wood Panel Abstract Photography

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

Swept Away 4 ( Unique Gestural Abstract Camerless Photograph in Black and Pink) Abstract photograph, chromoskedasic monoprint 20 x 16 inches 28 x 24 inches framed, custom black wood,...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Archival inks and acrylic on canvas. Gallery wrap continues the images on all the borders. Vibrant colors. About the Artist: Kat is an award-winning photographer, mixed m...

Tokyo #9 - Unique, 2015 Hand-embellished archival Pigment print on 300gsm Hahnemuhle paper, hand-coloured with mixed-media, mounted on diabond, resin coated. Spanish/Australian Albe...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Grid No.6, 2009 (Contemporary Framed Abstract Grid in Neutral Shades Black & Coffee) by Birgit Blyth 40" X 25" paper vertical chromoskedesic monoprint 44 x 29 inches framed, custom frame with black wood molding and anti-reflective glass This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer, Birgit Blyth. Without the use of a camera, the artist produced this chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The variety of caramel, toffee, brown and black tones is determined by the different chemicals used and the amount of time they are exposed to light. Here, the artist paints with the photographic materials in a gestural, linear motion. Beautiful hues of coffee, caramel, brown, grey, and black intersect to create unique abstract, intersecting grid patterns that resembles a basket weave motif. The photograph is complimented with a black metal frame with non-glare glass. It is equipped with sturdy wire on the back for instant and professional quality hanging. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer. Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork. The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dr. Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.” Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper. Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content. Artist CV: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

Dennis Hopper, (American, 1936-2010) Mixed media sculpture "Outmolding Older Concepts (Wilhold Up the Mirror)", 1961, photo and assemblage, Ace gallery and Easy Rider Production labels verso 27"h x 40"w x 5"d. There is broken mirror glued into the wooden collage box with the ceramic head that is attached to the front. I assume that is how it was made. Provenance: Estate of Pentti Kouri, NYC; Ace Gallery, Los Angeles; Exhibited MOCA, Los Angeles, 2010 From a 1997 interview with Hopper where he references this piece "Right now it's very intense. I had a show that travelled Germany, about 15 different museums. Sunday we go to Denmark; I'm showing the early assemblage I did in 1961 which was the signal for conceptual art. I'm just two days there, then I'm going to Venice to meet Julian Schnabel - Count Volpe's given us a place to paint in Giudecca. Then I'm going to Documenta in Germany to hang another show, then I go back to LA on the 21st and start a film on the 23rd." Notes/Literature: Dr. Pentti Kouri(1949-2009) was a Finnish economist and venture capitalist with partner George Soros. He built his prestigious art collection with the goal of opening a private art foundation focused on his interests in Minimalism, Arte Povera, Conceptual and Text-based art. He was a member of the Board of Trustees of Dia Art Foundation, and on the boards of Tate, London and the Guggenheim Museum, New York. In addition, a portion of his collection forms the core of the Kiasma Museum of Contemporary Art in Helsinki, Finland Hopper made his film debut alongside James Dean in 1955's Rebel Without a Cause. Both lost souls from dysfunctional households, they gravitated to each other, smoked dope and took joy rides. When Dean died, Hopper saw himself as the natural inheritor of his rebellious mantle and, revelling in his nickname of "Dennis the Menace", gave it to Hollywood with both barrels; so they dropped him. Dennis didn't make another Hollywood movie for seven years. Frustrated by the deliberate stifling of his film career, Dennis turned to art and photography for creative stimulus, beginning with abstract subjects such as landscapes. His cutting-edge conceptual art became established round the world, with exhibitions in major cities. At home in the dining room stood one particularly interesting work, a white plastic box, eight feet long, that had an aluminium shaft sticking out of it, and two very large balls. It was called The Perpetual Erection Machine. Before Tracy Emin and Damien Hirst, there was Dennis. In 1961, Hopper took part in an international photography competition in Australia with a contribution of five abstract photos, which he called Pieces. He won first place. Soon after, Hopper married Hayward, daughter of the film producer Leland Hayward, whose credits include The Sound of Music and South Pacific. The wedding party of Hopper and Hayward was held in August at the apartment of actress Jane Fonda, a childhood friend of Hayward, who introduced Hopper to her younger brother Peter Fonda. Their daughter Marin was born in 1961, and they moved to Bel Air, California. Soon afterward the famous Bel Air fire destroyed their home, including approximately three-hundred Abstract Expressionist works and hundreds of pages of poetry that Hopper had begun in the mid-1950s. Hopper and his actor friends Dean Stockwell and Russ Tamblyn were close to many artists in California, especially assemblage artists Edward Kienholz...

Unique piece in this size More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket ...

Unique piece More sizes and an Essay from Lyle Rexer about this series on request. Joachim Schmeisser’s work rescues photography from the centuries-old straightjacket of realism to...

"Unforgotten Series No 6" is an archival pigment print on fine art paper, mounted on birch panel and resin coated. This is a wonderful colorful abstract artwork with text and pink ba...