David Shrigley

David Shrigley, Eyes - Woodcut, Contemporary Art, Signed Print

Maria Stelmaszczyk is a Polish artist born in 1983. PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

Luke Gilliam has an unusual woodcut technique that he pairs with a complex object of his own creation. He uses technique to create a technical tour-de-force with the intriguing title...

Hans Hartung (Germany, 1904-1989) Erker-Galerie, 1974 Woodcut on paper 27.6 x 19.7 in. (70 x 50 cm.) Excellent condition, unframed Edition of 0 Ref: HAR100-203 Hans Hartung was born...

Artist: Peter Green Title :Astral Form Year:1969 Edition: Signed, Dated and marked 19/30 Paper Size = 26½" x 38½" inches Type: Woodcut Born in 1933, Peter Green studied at Brighto...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Brice Marden "Attendants, Bears, and Rocks" Matthew Marks Gallery, New York, 2002 Exhibition poster 17 x 22 inches Signed recto Exhibition poster for "Attendants, Bears, and Rocks" ...

The title of this poetic, abstract work is written across the top of the sheet. The hand-written cursive below reads: "David Shapiro / Told me he was going to / Carve his poems in stone / "That's one way to make them lost" / I don't have to / Rene Ricard". A poet, art historian and art critic, David Shapiro was friends with Ricard, and a part of the 1980's art scene in New York. Shapiro became famous briefly during the 1968 anti-Vietnam student uprising at Columbia University, when a photograph of him smoking a cigar behind the desk of the Columbia University president was published in Life magazine, and he became the face of the student protest...

Rare collectors' item: Anish Kapoor Venice Biennale: XLIV Esposizione Internazionale D'arte Biennale Di Venezia (Hand signed and inscribed by Anish Kapoor), 1990 HISTORIC signed poster published on the occasion of Kapoor representing Great Britain at the Venice Biennale Offset lithograph poster (Hand signed, inscribed to Nadine and dated 2016) Boldly signed, inscribed and dated by Anish Kapoor on the lower right front 33 × 23 inches Unframed Boldly signed and inscribed by Anish Kapoor on the lower right front for the present owner, Nadine, so provenance is direct. Accompanied by gallery issued Certificate of Guarantee This offset lithograph poster was published on the occasion of Anish Kapoor's exhibition "XLIV Esposizione Internazionale D'Arte" at the Biennale Di Venezia from May 27 to September 30, 1990. Hand signed posters by Kapoor are quite elusive. The poster is two sided as it was published on the occasion of the artist's participation in the 1990 Venice Biennale (the verso has his lengthy biography), and it bears the original folds as issued. British-Indian sculptor Anish Kapoor was chosen to represent Britain at the first Biennale of the 1990s. He had been exhibiting since 1980 but it was this show that brought him widespread recognition on the international stage. Sixteen huge sandstone blocks dominated the Pavilion’s main room; they were so heavy that the floor had to be reinforced with supports. Kapoor had started working in stone in the late 1980s and each block in Void Field (1989) has a hole filled with another motif in his work, the powdered blue pigment used in Indian religious ceremonies. The same vibrant tones, which was also inspired also by Yves Klein’s statement bold blue colour, were used in his low-lying slate sculpture, A Wing at the Heart of Things (1990), in the back gallery of the Pavilion; this work is now part of Tate’s collection. “Venice is an interchange of East and West, reflecting the way Kapoor borrows from both cultures” said Henry Meyric Hughes, British Council. Kapoor’s exhibition also wove together references to spiritualism and eroticism, with the red slit in the Pavilion's wall, entitled The Healing of St. Thomas (1989), alluding to the saint that doubted Jesus’ resurrection...

The paintings of Robin Morris are her observations of life, stylized, playful, and yet challenging to the viewer. Her emotions are hidden beneath layers of color and pattern. Stepping into the public eye in 1982, with the publication of her first lithograph, "The Couple". The fifty editions that followed, firmly established her in the artistic community and enhanced her broad-based collector appeal. This print on canvas is a particularly rare image. It is numbered 11 of 295 images, but only 3 were ever created of this 40x40" image on canvas. One print went to the artist Robin Morris, One went to us at ARDT gallery...

Monochromatic #02 is part of a series of photographs entitled Monochromatic by Cristian Stefanescu. This black and white abstract geometry series is presenting a dialogue with the elements of perceptions and space. Seeing is unconscious using our senses, our intellect and our emotions in order to interpret the world around us according to our own personality, frame of reference or system of beliefs. I like to use as starting point the elements already created in our reality, fragments of nature or made by human hand. I like to restructure the images I am taking, by altering the angles and relative lengths, joining structures or spatial symbols into a combined representation of matter, just as I like to reorganise my thoughts, in order to be able to change my interpretation, or better say my perception and while doing so I add new forms or perspectives to each thought. Cristian Stefanescu, artist, is available for sale online and in our art gallery at Wychwood Art. Oxford based artist Cristian Stefanescu was born in 1968 in Bucharest. He obtained an MSc degree in 1992 at the Technical University of Construction Bucharest, specialisation in Water and Wastewater Treatment followed by the second MSc in 1994 obtained at University of Liège, specialisation in Groundwater Engineering. After having spent more than a decade of his life teaching at the Technical University of Construction Bucharest, Cristian moved from academia to photography working in fashion industry. The passion for photography developed in the early years of college and became a constant element of his life. After long and constant collaborations with fashion brands in Romania, in 2018 Stefanescu moved to London to open his own studio. Photography was born black and white and he chose to continue this tradition, while working on evolving the visual aesthetics of this raw art form rendering his believes. Cristian Stefanescu’s distinctive monochrome photographs are an exploration into the psychological and metaphysical. He captures nature or buildings in specific moments in time – through highly visual heartbreakingly dark images often overlapped with low-contrast minimal landscapes – to create works that stretch the idea of a hypothetical time. His photo installations exist in dialogue with the elements and perceptions of space and time. “Seeing is unconscious using our senses, our intellect and our emotions in order to interpret the world around us according to our own personality, frame of reference or system of beliefs.” he has said. “I like to use as starting point the elements already created in our reality, fragments of nature or made by human hand. I like to restructure the images I am taking, by altering the angles and relative lengths, joining structures or spatial symbols into a combined representation of matter, just as I like to reorganise my thoughts, in order to be able to change my interpretation, or better say my perception and while doing so I add new forms or perspectives to each thought. This is perhaps why I love photography, because it is simply a visual capture of something already created in the world and is always changing through our interpretation, it is more like a reflexion of our thoughts.” Always preferring to focus on the space rather than its subjects Stefanescu is obsessive about the contrast of his photography, in order to channel the intensity of light and texture of the storied buildings or nature elements. He documents concrete buildings, using the subject as representative for its physical referents, while considering metaphorically the world as the concrete representation of our emotions. Concrete thinking requires facts and representation about everyday life, palpable objects in a tree dimensional world. Stefanescu uses his photographs to deconstruct and alter reality in order to obtain abstract images, since by definition the abstract thinking involves a mental process and an abstract object does not exist in time or space, but rather exists as a thought, as an idea. “I use art in a reversed process of creation. I believe thought forms what our eyes can see, so I take what was already created by the thought of another and I try to place it back into what is known forever in the mind” he has said. Cristian Stefanescu believes in the energy of every being, of each object or nature element. He upholds that photography renders the ineffable combination of the object’s energy and the photographer’s one while taking a picture. And what is the energy of a photograph? Is it the energy of the space that is framed in the viewfinder, is it the energy of the photographer? I think it is an ineffable combination of the photographer’s energy when he pressed the shutter button and everything that forms the energy of the photographed space...