Manhattan - Abstract Prints

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: Briggs Edward Solomon's artwork is known for its balance and juxtaposi...

The New Cable British Modern Mid 20th Century Vorticist European Vorticism Woman Sybil Andrews CPE (British/Canadian, 1898-1992) "The New Cable," 1931 12 x 16 1/2 inches Color linocut Signed, titled, inscribed 'Second State', and numbered 13/60 in pencil Framed: 19 x 24 inches Literature: Coppel Sa17 Illustrated on page 10 of the catalog The proposed edition of the first state of the Giant Cable was 50, but only 30 impressions were pulled. Andrews removed the blue background for the second state, which was published under the title The New Cable in an edition of 60. BIO Sybil Andrews was a printmaker, painter, graphic artist and educator who was born in Bury St. Edmonds, Suffolk, England. She moved to London (England) in 1922. In 1947, she emigrated to Campbell River (Vancouver Island) British Columbia, Canada, where she worked, taught and lived for the rest of her life. She died at a hospital in Victoria (B.C.) Her mediums were the colour linocut (1) (most famous), etching, posters, pastels, ink, watercolour, monoprint and oil. Her subjects were human activity (at work, sports, travel, etc.), figures, animals, genre, allegory, architecture and landscape. Her style was Art Deco (see AskART styles), Futurism, Cubism and Vorticism (2). Her work is identified by a simple format, clean lines, distortion, vivid colours, drama and rhythm. Quote: "The colour linocut was just the medium for me, being interested in dynamics and ideas and patterns... It is impossible to be fussy with lines, you have to simplify, you are forced to simplify your idea to its fundamentals." Andrews produced 76 linocuts in her life, of which 43 were made from 1929 to 1939, which is considered to be her best period. John Hassall's art correspondence course (1918) was the beginning of her formal art education. She went from there to Heatherley's School of Fine Art (London/1922) where she studied under Henry Massey (see AskART) and met artistic partner Cyril Power (see AskART). At the same time, she studied independently with sculptor Henri Glicenstein (see AskART) who taught her drypoint etching and to draw from life. She also attended the Grosvenor School of Modern Art (1925). Iain McNab (1890-1967) was Principal and Claude Flight (3) (see AskART) an instructor who had a great influence on her choice of linocut as a primary medium. Some of his other students and her associates were Edith Lawrence (1890-1973), Lill Tschudi (1911-2001), Eileen Mayo (see AskART) and William Greengrass (1896-1970). After emigrating to Canada she taught art continuously until a month before her death. She was elected a member of the Canadian Painters - Etchers Society (after 1976 the Print and Drawing Council of Canada) in 1951. She began exhibiting her work in 1921.In 1929 she was included in "The First Exhibition of British Linocuts...

Jasper Johns Target with Four Faces, 1968 Offset lithograph poster for Merce Cunningham Dance Company Limited Edition of 300 (unsigned and unnumbered) 35 × 23 inches Printed by by U...

RICHARD ANUSZKIEWICZ Grey Tinted Rainbow, 1992 Assemblage with 14 Color Silkscreen and Lithograph Pencil signed and numbered 11/40 on the front Frame included: elegantly framed in a ...

Jamie Nares When the Language was Young, 2010 Lithograph in red on polymer Pencil signed, dated and numbered 13/50 lower front Lithograph in red on acrylic Pencil signed, dated and ...

Limoges x Estate of Jean-Michel Basquiat Estate Authorized Porcelain Plate in Box, 2014 Porcelain Plate in Blue Presentation Box with Estate Logo This plate is in excellent condition and comes in an elegant blue gift box...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Engineer often brought him to the lab. The daily experimentations happening around him, both personal and scientific, would later inform his work. While his parents wanted him to follow more straightforward career paths, he was the first in his family to eschew their expectations and pursue art and music instead. Malghan went on to receive an MFA in Photography from Savannah College of Art and Design - Hong Kong. Here he experimented in a darkroom, bleaching film, adding watercolor to glass plates, thinly cross-sectioning fruits and vegetables until they formed abstractions, beginning his exploration into the repurposing of materials. In his twenties, Malghan was diagnosed with Leukemia, the treatment of which resulted in avascular necrosis, a bone disease that eventually required numerous surgeries and three hip replacements. His experience through illness and recovery not only led him to photography, but also informs his manipulation of raw, often overlooked materials in order to reorient our understanding of beauty, pleasure, and purpose. Malghan has been exhibited across the country and has lectured in Hong Kong, India, the University of Texas, the University of Notre Dame - Maryland, and UMLAUF Sculpture & Design Museum. He most recently has been commissioned by The Walters Art Museum, and his work is in the private collections of Johns Hopkins...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

ABOUT THIS PIECE: Color is the foundation of this Canadian artist's work. Her circles start as a mood or idea that eventually evolve into a colored circle. She is curious how different colors interact when they're placed next to each other. Within a digital medium she experiments with intensity of colors and the different sensations colors evoke. Why a circle? When she explores her fascination with this shape, she discovers that the circle represents all that is familiar and comforting. It is the shape of the rising sun, of a mother's nipple, of the iris of the eye, and of a full moon. ABOUT THIS ARTIST: Ruth Adler is a Canadian artist whose mediums include paintings, works on paper, animated films and textiles. She is inspired by the city of Tel Aviv, music (she plays the harmonica) and her personal memories. Jim Kempner Fine Art...

Andy Warhol (After) Warhol Unlimited, 2015 Silkscreen on thin linen canvas backing 63 × 47 inches Unframed This large, stunning silkscreen poster was published on the occasion of the...

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

Aaron Wexler received his B.F.A. in painting from Tyler School of Art - Philadelphia, PA. & M.F.A in painting from The School of The Art Institute of Chicago. He has exhibited his work nationally and internationally - including Josée Bienvenu Gallery, Pavel Zoubok Gallery, Morgan Lehman Gallery, The National Academy Museum, The Katonah Museum of Art, among many others. Works have been acquired by numerous collections such as The Saatchi Collection, The West Collection, Fidelity Investments Art...

Touched by the influence of Andy Warhol, champion of a young Jean-Michel Basquiat, Rene Ricard served as enfant terrible of the 1980s New York art scene. In this rainbow print, Ricar...

Ed Ruscha Science is Truth Found Out (Red) Limited Edition scarf , held in bespoke box, 2022 Limited Edition 100% silk twill scarf, bearing Ruscha's authorized signature on both the ...

An inverted car, gleaming in chrome, speeds through sumptuous layers of pink, translucent yellow, and a veil of lacy, flower-like shapes. Across the top, the artist’s name is splashe...

John Baldessari The Sprinters, 1982 Limited Edition Offset Lithograph on Parson's Diploma paper Signed in graphite pencil on the front. Accompanied by letter of authenticity from the publisher 36 x 24 inches Unframed Provenance: Acquired as part of the complete SIGNED 1984 Olympic Lithographic Print Portfolio Exhibition History: Olympic Museum in Lausanne, Switzerland, 2017 (different edition) Accompanied by a letter of authenticity from the publisher on Olympic Committee letterhead. This is one of 750 hand signed lithographic posters, published in 1982 to celebrate the 1984 Los Angeles Olympics...

Ed Ruscha Chicago International Art Exposition (Hand Signed by Ed Ruscha), 1983 Offset Lithograph. Pencil Signed and dated. Unframed. Signed and dated by Ed Ruscha in graphite pencil...

Hugo Demarco Relation Couleur, 1973 Silkscreen on velincarton Hand signed and numbered 62/200 on lower front. Bears the publisher's blind stamp on the fro...

Paul Jenkins International Very Special Arts Festival poster, 1994 hand signed and dated by Paul Jenkins Measures: 37 inches (vertical) x 25 inches (horizontal) Ships rolled in a tub...

Poster designed Martin Szufter with the approval of Andy Warhol, using an image of a Warhol work from the exhibition The New Gallery, 1971 Silkscreen on paper 24 × 17 1/2 inches Unfr...

Tracey Emin It - didnt stop - I didnt stop, 2019, from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional card (han...

René Magritte Magritte at Galerie Alexandre Iolas, Milan, Italy, ca. 1980 Offset lithograph lettering and silkscreen poster on thin wove paper ...

Gary Hume Pink Nicola, Nicola as an Orchid, Brown, Brown, Silver and Brown 2005 Set of three screenprints on silver leaf "Pink Nicola": 49 1/4 x 38 1/8 inches; 125 x 97 cm "Nicola as...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

ABOUT THIS PIECE: A 1 inch white border is included in the listed image size (W x H) as per the artist's request. Inspired by the warm light, open vistas, and saturated colors of he...

Abstract black and white hand painted print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary space...

Terry Winters Mostly Mozart Festival (Hand Signed), 2009 Silkscreen poster on wove paper Hand signed by the artist on the lower right front in 2016 39 4/5 × 30 1/4 inches Unframed This hand signed silkscreen was created on the occasion of Lincoln Center's Mostly Mozart Festival in 2009 and features one of Terry Winters' iconic silkscreens titled, "Illustrated Set". This work was created in 2009 and signed by the artist 2016. Terry Winters signed it for the present owner, so provenance is direct. The regular (unsigned) edition was 800; however, this work is uniquely signed by hand. In very good condition; the only gentle handling marks were caused by Terry Winters when signing. Terry Winters biography Over the last four decades, Terry Winters has expanded the concerns of abstract painting by engaging contemporary concepts of the natural world. Many of his earliest paintings depict organic forms reminiscent of botanical imagery. Over time, his range of themes expanded to include the architecture of living systems, mathematical diagrams...

ABOUT THIS PIECE: "This particular series is a an homage to photographs taken with film. They are the result of an aberration of light passing through a locked shutter and the camera...

Robert Indiana 9, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included: Elegantly matted and fra...

This striking Art Deco lithograph poster, entitled "Pianos Daude," was created by the talented French artist Andre Daude around 1926. The poster is...

Jim Dine Love for Channel 13 Lithograph. Hand signed and numbered recto 27 × 21 1/2 inches Edition 185/200 Signed and numbered 185/200 in graphite pencil on the recto Unframed Rarel...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Willem de Kooning Annual Spring Invitational Art Exhibition (limited edition, hand signed numbered by Willem de Kooning), 1979 Offset lithograph (hand signed and numbered) Sign...

Tracey Emin Hand Signed by Tracey Emin: Bazaar magazine homage to David Bowie, 2016 Glossy offset lithograph magazine (uniquely hand signed by Tracey Emin) Boldly signed in silver sh...

ABOUT THIS ARTIST: Clara Masiá lives in Barcelona and studied art and design at Massana School. As an illustrator, Clara considers herself a very observant and detailed person where ...

Robert Indiana LOVE in Central Park, New York, 1971 Color lithograph on wove paper. Pencil signed, dated and numbered with LOVE drawing/flourish Hand-signed by artist, Pencil signed, dated and numbered 66/ 89. Also bears a drawing of the stacked letters LOVE in pencil. Bears Robert Indiana's copyright Published by Robert Indiana and printed by the American Poster Company to raise money for Central Park 39 × 30 inches Unframed This impressively large 1971 lithograph - pencil signed and numbered from the limited edition of only 89, with a stacked LOVE drawing on the front - depicts Robert Indiana's iconic LOVE sculpture (from the permanent collection of the Indianapolis Museum of Art) when it was exhibited at Central Park in New York City. This was the turn of the decade of the 1970s - during the height of the anti-Vietnam War protests of the Nixon Administration, when the presence of Indiana's monumental cor-ten steel LOVE in Central Park took on a much deeper significance in New York and indeed the country. This important print is pencil signed, dated and numbered by Robert Indiana from the very small edition of only 89. It also bears a drawing - a flourish - of the word LOVE written by the artist in pencil. Very few of the signed editions of this print remain -- so it is rarely seen on the market. Indeed, eighty nine (89) is a very small edition; however, this oversized print was used for promotional purposes in public places, so very few of the 89 signed and numbered works remain - let alone with the original stacked love drawing. . If you LOVE Robert Indiana...

David Hockney David Hockney at Castelli Graphics, 1981 Offset Lithograph poster 20 × 16 inches Unframed Rare 1981 poster published on the occasion of the r...

Peter Halley Peter Halley, Sonnabend Gallery, New York (Hand Signed by Peter Halley), 1989 Offset lithograph poster (hand signed by Peter Halley) 28 × 26 inches Unframed Alpha 137 Gallery is honored to offer this historic offset lithograph of American artist Peter Halley's 1989 exhibition at the legendary Sonnabend Gallery in New York which the artist hand signed in black marker. Scroll down for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective "Andy Warhol - from A to B and Back Again" at the Whitney. PETER HALLEY BIOGRAPHY Peter Halley, born 1953, New York City, is an American artist who came to prominence as a central figure of the Neo-Conceptualist movement of the 1980s. His paintings redeploy the language of geometric abstraction to explore the organization of social space in the digital era. Since the 1980s, Halley’s lexicon has included three elements: “prisons” and “cells,” connected by “conduits,” which are used in his paintings to explore the technologically determined space and pathways that regulate daily life. Using fluorescent color and Roll-a-Tex, a commercial paint additive that provides readymade texture, Halley embraces materials that are anti-naturalistic and commercially manufactured. In the mid 1990s Halley pioneered the use of wall-sized digital prints in his site-specific installations. He has executed installations at Museo Nivola, Orani, Sardinia (2021); Greene Naftali...

DeLoss McGraw Leaving Home (97-301), 1997 Five color lithograph on tan Rives BFK paper with deckled edges Signed and numbered 3/75 in graphite pencil on the front 17 × 24 3/25 inches...

A frenzy of lines and color, this pair of Dieter Roth lithographs could have been produced in 2022. The contemporary popularity of semi-abstract imagery featuring color gradients, za...

Andrea Belag A Second Hand II, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Hand-signed by artist, Signed, titled and dated in pencil on the front; bears publishers name and copyright on the back, along with the unique inventory number Unframed Poignant 1990 monotype, in elegant pastel colors. The cotton rag paper has lightly deckled edges so it will look gorgeous when floated and framed. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

Raymond Pettibon Black Flag 1983 (punk flyer): Black Flag at Mi Casita, Jan. 14, 1983: Offset-printed, 11 x 8.5 in. (28 x 21.6 cm). Black & white. Handbill / flyer for performance by...

Yayoi Kusama & Takashi Murakami Skateboard Decks (2 works): A set of two individual skateboard decks featuring Kusama's dots obsession imagery & Murakami’s iconic flowers. Makes f...

Julian Schnabel Invierno Primaveral, 1995 Hand-painted, 17-color screenprint with poured resin 40 x 30 inches (102 x 76 cm) Edition of 80 signed in pencil and stamped on verso "S...

Robert Indiana Star of Hope, 1972 Enamel on Metal with Artists Stamped Name. Date and Copyright Artist stamped name and copyright on lower right front Frame Included: held in a white...

Gary Hume Pinks 2002 Silkscreen 17 3/8 x 14 inches; 44 x 36 cm Edition of 45 Signed, titled, dated and numbered in graphite (lower recto) Frame available upon request Available fr...

Rammellzee Annina Nosei Gallery, New York, 1983 (Rammellzee Gothic Futurism, Rammellzee Ikonoklast Panzerism): RARE Rammellzee illustrated announcement card published by Annina Nosei...

ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Johan Van Oeckel. In search for new compositions he always starts from small sketches based on fra...

Robert Indiana Purim: The Four Facets of Esther (I) Sheehan, 36, 1966 Color silkscreen on off white wove paper Printed by Stephen Poleskie, Chiro...

ABOUT THIS PIECE: Briggs Edward Solomon's artwork is known for its balance and juxtaposition. It is a collaboration of simplistic and contemporary colors. It is subtle, yet bold. It ...

ABOUT THIS PIECE: Inspired by the warm light, open vistas, and saturated colors of her birthplace (Southern California), Julianna Goodman’s collages often distill memories of nature...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Enginee...

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of pink, yellow, red, turquoise, silver, and gold. Printed with metallic ink that catches light differently from each angle, complementing the poster’s lime green and red text. The top of the poster reads “Let us move forward with a strong and active faith.” It was at this 1980 convention that Jimmy Carter was nominated for reelection. This large poster was printed by Petersburg Press in 1980, and features Frank Stella’s Polar...

Yayoi Kusama Infinity Umbrella, 2014 Silkscreen on 100% polyester umbrella with plastic handle 37 × 54 × 54 inches This limited edition silkscreened umbrella was created exclusively...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Takashi Murakami Record Art 2018 (Takashi Murakami Kanye West Kid Cudi): This Takashi Murakami designed cover & record album is for Kids See Ghosts and is the only studio album by t...

The simple geometries and bright colors that recur throughout FEMM’s, have an inherently contemporary and urban feel. It’s no wonder, then, that the metropolitan city is one of FEMM’s greatest sources of inspiration. Whether it’s the zestful energy, the colorful clothes...

Sightseeing is one of a group of ten prints which the artist made at Petersburg Press in 1972, each based on one of his paintings. Rosenquist’s Sightseeing 1962 oil painting on canva...

ABOUT THIS ARTIST: Jessica Nugent is a photographer from California known for her contemporary images of nature. She uses her graphic design background to create an emotional connection with the natural world through the use of color. Jessica’s art has recently been featured with Artsy, Domino Magazine, Pottery Barn Teen...