528 results for "donald judd"

John Baker’s “Her Beautiful Thoughts” is a 23.5 x 19.5 x 1.5 inches acrylic painting with collage on canvas in light pinks and blues and deep russets. The active dispersion of small ...

Paintings and Drawings, by Agnes Martin 1974-1990 (Stedelijk), 1991 Additional information: Medium: complete set of ten lithographs on transparent vellum paper each, 30 x 30 cm 11 3/4 x 11 3/4 in Agnes Martin was an American painter who was born in Macklin, Saskatchewan, Canada, in 1912, and became a US citizen in 1940. Martin is perhaps most recognised for her evocative paintings marked out in subtle pencil lines and pale colour washes. Although restrained, her style was underpinned by her deep conviction in the emotive and expressive power of art. Martin believed that spiritual inspiration and not intellect created great work. ‘Without awareness of beauty, innocence and happiness’ Martin wrote ‘one cannot make works of art’. In a career spanning five decades, Martin became known for her square canvasses, meticulously rendered grids and repeat stripes, though her lesser-known early works consist of experiments with mixed media and works on paper. Martin thought of her works as studies in the pursuit of perfection. Martin spent many years working in New York, where she was part of a contemporary of artists such as Sol LeWitt, Ann Truitt, Donald Judd and Ad Reinhardt – with whom she was close friends. In 1967, shortly after Reinhardt died and just as Martin’s art was gaining acclaim, she left the city and continued her investigations into Buddhism and meditation. She wished to experience true solitude and used this period of quiet reflection to produce some of her most significant writing, whilst situated in sparsely populated and remote areas of the United States and Canada. In 1968 Martin resettled in New Mexico and began building an adobe and log house in a remote mesa. She lived there alone and without modern conveniences for several years. In 1973 she began creating work again. Agnes Martin’s influence reaches globally and plays a hugely significant role in 20th Century art history. Whilst known as a pioneer of abstract painting, her work as well as her reclusive lifestyle have served as an inspiration to creative practitioners in diverse disciplines. Painters, photographers, writers – and many devotees from the words of fashion, architecture and graphic design revisit and rephrase her perspectival studies and fascination with geometry, the legacy of which can be seen in investigations into brevity of line and muted colour palettes. Artists such as Richard Tuttle, Ellen Gallagher...

Landscape with music record or disc in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. For over forty years, Baxter& has continually produced works that question the role of art as commodity and as a medium for cultural commentary. Among his many innovations, Baxter& was the first artist to adopt a corporate persona: in 1966, he formed the N.E. Thing Company. NETCO output ranged from conceptual, satirical, vacuum-formed still lives to post-modern appropriations of famous artworks. His recent work includes neon signs, ‘animal preserves’, a grocery cart of ‘GMO’s’ (genetically modified organisms) and installations using obsolete technology.) He is a painter, photographer, sculptor, mixed media artist, installationist, film & video maker, interventionist & performance artist who has been a forerunner of conceptual art in Canada. BAXTER& has been considered the Marshall McLuhan of Visual Arts in Canada. Continuous themes in his work include information technology, landscape, art as commodity, & environmental & ecological concerns. These prominent themes throughout BAXTER&‘s work are often met with wit, parody, satire & word-play. Through his art, teaching, and mentorship, BAXTER& has widely influenced Canadian art, creating new movements such as the Vancouver School of Photo-conceptualism and blurring the lines between private and public through his N.E. Thing Co. among many other impactful projects. He has also directly influenced major Canadian artists, including Stan Douglas, Ian Wallace, Jeff Wall, Roy Arden, Ken Lum and Rodney Graham. BAXTER& has exhibited throughout Canada and internationally in the United States, China, Korea, Japan, and Europe including at the Guggenheim New York, The National Gallery of Canada & the Canadian Cultural Center in Paris, France, Los Angeles Museum of Contemporary Art, Museum of Modern Art, New York & the Tate Modern, London. In 2011, BAXTER&’s work was compiled into a major retrospective IAIN BAXTER&: 1958--‐2011, organized by the Art Gallery of Ontario & The Museum of Contemporary Art Chicago. His work can be found in collections including the National Gallery of Canada, the Art Gallery of Ontario, The Museum of Modern Art, New York, The Vancouver Art Gallery, the F.R.A.C Art Museum in Bretagne, France, the Gemeentemuseum in The Hague, The Netherlands, the Los Angeles County Museum of Art, & the Tate Modern, London. He is a Member of the Royal Canadian Academy. His work was included in the seminal Made of Plastic show that included Abe Ajay...

Kenny Scharf at Gagosian Gallery, Los Angeles, 1984: Offset printed announcement card. Dimensions: approx 4 x 5 inches. Good overall vintage condition. Features Scharf printed si...

Chris Verbeek, “Gebroken I (Broken I),” Zinc and Wood, The Netherlands, 1977 Dimensions: H. 27 cm (10.63 in.) x W. 22.5 cm (8.86 in.) x D. 6.5 cm (2.56 in.) A rare and striking zin...

Originally realised for the Hepworth Gallery in Wakefield and inspired by Donald Judd and Børge Mogensen, Anodised Wicker marries industrially extruded and anodised aluminium with ha...

Part of the Serrano family, this solid wood bench gives a nod to the master artist and designer Donald Judd. Shown here in Argentine Rosewood but av...

John Baker’s “Cabinet Secretary in his Office” is an acrylic painting on canvas 36 x 42 inches in pinks, blues, reds, whites and greys. The secretary’s energies are depicted as both ...

The Judith Neisser Collection: Minimal and Postminimal Innovation by James Rondeau and Anne Rorimer. 1st Ed hardcover with dust jacket. Publisher Yale University Press, 2011. One of Chicago's premier art patrons and an architecture and interior design critic, Judith Neisser has amassed a remarkable collection of international contemporary art. More than 100 works are presented in this captivating, inside look at the Neisser family collection, highlighting paintings, sculpture, and works on paper from the 1960s to the present. Special emphasis is given to Minimalism and Conceptualism, most notably objects by Sol LeWitt, Robert Ryman, Donald Judd, Brice Marden, and Blinky Palermo. Other artists practicing in distinct traditions, such as Eva Hesse, Cy Twombly, and Rudolf Stingel...

John Baker’s “Thumbs Up” is an acrylic painting on canvas with collage, 20 x 16 x 1.5 inches, in greys, lavenders, browns and flesh tones. The upbeat meaning...

With its rigorous shapes and minimalistic contours, Jud wall lamp honors the aesthetic of Donald Judd. A geometric brass frame holds a translucent shaded glass pane concealing two co...

Originally realised for the Hepworth Gallery in Wakefield and inspired by Donald Judd and Børge Mogensen, Anodised Wicker marries industrially extruded and anodised aluminium with ha...

Jud wall lamp by Draga & Aurel Dimensions: W 23, D 10, H 131 Materials: Resin and brass All our lamps can be wired according to each country. If sold to...

John Baker’s “Pacific Celebration” is an acrylic painting with collage on canvas 66 x 50 inches in greens, blues, yellows and rose reds. As though at a fantastical wedding, the color...

Gigi Sabadin “Pala” Dining Chair for Emme, wood, Italy, 1973 Designed in 1973 by Italian architect and designer Gigi Sabadin, the “Pala” chair embodies the radical experimentation of the Italian Seventies. Its structure reduces the archetype of a chair to an essential gesture: two vertical planes intersected by a suspended circular seat in woven straw. The stark black lacquered wood, resting on a double-base support, highlights the tension between geometric rigor and the organic tactility of natural fiber. Sabadin’s design language resonates with the conceptual explorations of Archizoom, Superstudio, and Gianni Pettena, where furniture transcends function to become a spatial and architectural statement. The radical minimalism of the “Pala” also recalls the self-reduction principles of Enzo Mari’s “Autoprogettazione...

Originally realised for the Hepworth Gallery in Wakefield and inspired by Donald Judd and Børge Mogensen, Anodised Wicker marries industrially extruded and anodised aluminium with ha...

John Baker’s “Studio Sketch of Alicia” is an acrylic painting on canvas with collage 20 x 16 inches in oranges, greys and pinks. Baker says, "I often sketch visitors to my studio tha...

Josef Albers (1888-1976) is affiliated with numerous defining movements of 20th century art. Historians credit Albers with fusing elements of American and European abstraction while ...

Josef Albers (1888-1976) is affiliated with numerous definitional movements in 20th century art. Art Historians credit Albers for fusing elements of American and European abstraction...

John Baker’s “Birth of a Galaxy” is an acrylic painting on canvas with collage measuring 43 x 28.75 inches, in maroon, green and flesh tones, depicting a galactic density of stars, s...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, cir...

These early year 'Zig Zag' chairs by Gerrit Rietveld for Cassina are the holy grail of collectors pieces. Rare and coveted, original 'Zig Zag' chairs are a part of design history, re...

With its rigorous shapes and minimalistic contours, Jud wall lamp honors the aesthetic of Donald Judd. A geometric brass frame holds a translucent shaded glass pane concealing two co...

With its rigorous shapes and minimalistic contours, Jud wall lamp honors the aesthetic of Donald Judd. A geometric brass frame holds a translucent shaded glass pane concealing two co...

John Baker’s “Studio Sketch of Ella” is an acrylic painting on canvas with collage 20 x 16 inches in creams and browns. The painting is from the “Studio Visitors” series. When Ella a...

Originally realised for the Hepworth Gallery in Wakefield and inspired by Donald Judd and Børge Mogensen, Anodised Wicker marries industrially extruded and anodised aluminium with ha...

Originally realised for the Hepworth Gallery in Wakefield and inspired by Donald Judd and Børge Mogensen, Anodised Wicker marries industrially extruded and anodised aluminium with ha...

Jiri Kolar, Czech (1914-2002) Tower of Babel Paper Collage Hand signed with Initials Lower Right. Dimensions: Sight-11.25" x 9.5". Frame-20" x 17" Circa 1970's Provenance: bears l...

Great way to lift and put focus on a special object. The interior as well as the top of this piece are great for displaying anything that deserves a little extra attention. We all lo...

Marfa ( Donald Judd ) by Frank Schott Donald Judd's art studio, from a series of impressions captured in his home town Marfa, Texas 27 x 40 inches / 68cm x 102cm edition of 25 signed 48 x 72 inches / 122cm x 183m edition of 7 signed archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco...

The Road by Frank Schott country road outside of town, from a series of impressions captured in and around the artist community of Marfa, Texas, longtime residence of minimalist art...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

Gigi Sabadin “Pala” dining chairs for Emme, wood, Italy, 1973, set of two Designed in 1973 by Italian architect and designer Gigi Sabadin, the “Pala” chairs embody the radical experimentation of the Italian Seventies. Their structure reduces the archetype of a chair to an essential gesture: two vertical planes intersected by a suspended circular seat in woven straw. The stark black lacquered wood, resting on a double-base support, highlights the tension between geometric rigor and the organic tactility of natural fiber. Sabadin’s design language resonates with the conceptual explorations of Archizoom, Superstudio, and Gianni Pettena, where furniture transcends function to become a spatial and architectural statement. The radical minimalism of the “Pala” also recalls the self-reduction principles of Enzo Mari...

MEL BOCHNER Kick Against the Pricks (Blah..Blah...Blah...), 2018 Two color silkscreen on boutique silk fair paper with blue-colored back, 350 gsm paper Signed, dated, and numbered 29/30 on the front by Mel Bochner Frame included: elegantly framed in a museum quality white wood frame with UV plexiglass is included Measurements: Framed: 12.5 inches x 30 inches x .5 inch Artwork: 10.5 inches x 28 inches Published by Two Palms Press Bibliography Catalogue Raisonné of Editioned Prints Krakow Witkin...

Armchair made from dark green anodised aluminium extrusions and woven cane seating. Originally realised for the Hepworth Gallery in Wakefield and inspired by Donald Judd and Børge M...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie No. 3 (double), Juin 1952, originates from the 1952...

John Baker’s “Ethnic Meld #3” is an acrylic painting on canvas with collage 17.75 x 15.75 inches in pinks, reds and ochers. The noted American painter George Tooker (1920-2011), hims...

Gigi Sabadin “Pala” dining chairs for Emme, wood, Italy, 1973, set of six Designed in 1973 by Italian architect and designer Gigi Sabadin, the “Pala” chairs embody the radical experimentation of the Italian Seventies. Their structure reduces the archetype of a chair to an essential gesture: two vertical planes intersected by a suspended circular seat in woven straw. The stark black lacquered wood, resting on a double-base support, highlights the tension between geometric rigor and the organic tactility of natural fiber. Sabadin’s design language resonates with the conceptual explorations of Archizoom, Superstudio, and Gianni Pettena, where furniture transcends function to become a spatial and architectural statement. The radical minimalism of the “Pala” also recalls the self-reduction principles of Enzo Mari...

The marble ballot box invokes the spirit of minimalist artist Donald Judd. Crisp lines unify to create a steel box with a sleek sunken white carrara marble top. The table is construc...

John Baker’s “The Collyer Brothers” is an acrylic portrait painting on canvas with collage 20 x 20 inches in silver greys. Mad as hatters, crazy as bedbugs, and most of all oddly sym...

Bael, Forest, 2024 Acrylic on wood panel 40 x 30 cm (15.75 x 11.81 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bael’. He...

The Black Ice ballot box invokes the spirit of minimalist artist Donald Judd. Crisp lines unify to create a steel box with a sleek sunken spandrel glass top. The table is constructed...

John Baker’s “Old Madman #3”, an imaginary portrait 24 x 18 x 1.5 inches in flesh tones, greys, browns and whites, is from the artist’s important “Madman Series”. As Yeats wrote: “An...

John Baker’s “Target Practice” is an acrylic painting on canvas with collage 32 x 26 inches in rich browns and blacks complementing the buff color of the collaged paper. The merciles...

John Baker’s “Time Passes #2” is an acrylic painting on canvas with collage 20 x 16 inches in greys and blacks with red and flesh. From the “Life is Short” series, the painting is a ...

John Baker’s “A Meeting in Rome II, an acrylic painting on canvas with collage, 29 x 27 inches, in cardinal red, lavenders, yellows and green, is part of the artist’s “divided self” ...

A Red, from Three Aquatints, 1979 Aquatint on six copper plates printed on Rives BFK paper Paper Size: 40 3/4 x 40 3/4 inches (103.5 x 103.5 cm); Image Size: 33 x 33 inches (83.8 x 83.8 cm) Signed and titled lower left front Edition of 50, 10 AP, 3 TP Published by Parasol Press, New York Printed by Hidekatsu Takada, assisted by David Kelso, Crown Point Press, Oakland, California Robert Mangold (born October 12, 1937) is an American minimalist artist. He is also father of film director and screenwriter James Mangold. Mangold first trained at the Cleveland Institute of Art from 1956-59, and then at Yale University, New Haven, (BFA, 1961; MFA, 1963). In 1961 he married Sylvia Plimack, and they moved to New York. In the summer of 1962 Mangold was hired as guard at the Museum of Modern Art. Mangold's work challenges the typical connotations of what a painting is or could be, and his works often appear as objects rather than images. Elements refer often to architectural elements or have the feeling architecture to them. He almost always works in extensive series, often carried through both paintings and lithograph works on paper. Mangold’s early work consisted largely of monochromatic free-standing constructions. In 1968 he began employing acrylic instead of oil painting, rolling rather than spraying it on Masonite or plywood grounds. Within the year, he moved from these more industrially oriented supports to canvas. In 1970 he began working with shaped canvases and within the year began brushing rather than spraying paint onto canvas. Mangold made his first prints in 1972 at Crown Point Press and has made prints throughout his career, working with Pace Editions and Brooke Alexander Editions. In 1965, the Jewish Museum in New York held the first major exhibition of what was called Minimal art (Minimalism) and included Robert Mangold. In 1967, he won a National Endowment for the Arts grant and in 1969, a Guggenheim Fellowship. In 1971, he had his first solo museum exhibition at the Guggenheim Museum. Major museum exhibitions of his work have since been held the Museum of Contemporary Art, San Diego (1974), the Stedelijk Museum in Amsterdam (1982), Hallen für Neue Kunst in Schaffhausen (1993), and Musée d’Orsay in Paris (2006). He has been featured in the Whitney Biennial four times, in 1979, 1983, 1985, and 2004. His work is related to Geometric Abstraction. Select Exhibitions Robert Mangold, Bruce Nauman, Richard Serra: Extended Drawing, Bonnefantenmuseum Accrochage: Donald Judd, Louise Lawler, Sol LeWitt, and Robert Mangold, Galerie Greta Meert, Carl Andre, Dan Flavin, Donald Judd, Robert Mangold, Robert Ryman, Andrea Rosen Gallery, NY Tara Donovan, Sol LeWitt, Robert Mangold, James Siena: Minimalist Prints, Augen Gallery, Portland Modulated Abstraction: Josef Albers, Carl Andre, Donald Judd, Ellsworth Kelly, Sol LeWitt, Robert Mangold, Fred Sandback, Richard Tuttle, Brooke Alexander Editions, New York, NY Drawings from the 1970’s, Mel Bochner, Robert Mangold, Robert Moskowitz, Fred Sandback, Richard Tuttle, Lawrence Markey, New York, NY Systematic: Anne Appleby...

John Baker’s “Rough Going on the Inside” is an acrylic painting on canvas with collage 36 x 28 inches in olive greens and dark reds. Unlike in Chagall, where the inverted heads sugge...

76386 Vintage Persian Mazandaran Kilim Rug, 06'01 x 06'10. From the verdant slopes of Iran’s northern provinces, where forests hum with moisture and mist, this handwoven wool vintage...

John Baker’s “Self-Chaperone” is an acrylic painting on canvas with collage 28 x 22 inches in flesh tones, yellows and greys. The portrait depicts the inner conflict between uninhibi...

John Baker’s “Maternal Love” is a 18 x 13 ¾ x 2 ¼ inch acrylic on canvas with collage in pinks, greens and blues. The nurturing mother gently kisses her near adolescent daughter; inn...

John Baker’s “The Interpretation of Dreams: an Imaginary Portrait”, an acrylic painting on canvas 30 x 30 inches in maroons, tans and mint green, is from the artist’s “Psychoanalyst ...

John Baker’s Southern Belle II, a 41.5 x 29 x 1.5 inch acrylic painting on canvas with collage, is from the artist’s “Socialite” series. Painted in past...

John Baker’s “An Evening at Chess” is an acrylic painting on canvas with collage 50 x 40 x 1.5 inches in cadmium red-orange, lime greens and deep and lighter blues. The king’s crown ...

This rectilinear solid wood accent or dining chair is an original work by Costantini and inspired by the work of artists like Donald Judd. Available in any wood or finish and for ind...

The Ballot Box invokes the spirit of minimalist artist Donald Judd. Crisp lines unify to create a steel box, and a sleek sunken lumber top is punctuated with a rectangular cut out. T...

Bael, Snow, 2024 Acrylic on canvas 90 x 60 cm (35.43 x 23.62 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bael’. He lives ...

Ceramic sculptures by Yayoi Kusama. 2 sculptures of dimensions: 27 x 7 x 17 cm each. Executed in 2015. This work is number 3 from a limited edition of 30. Incised with the artist's ...

This exquisite lithograph by Alexander Calder (1898–1976), titled Deux pyramides et spirales (Two Pyramids and Spirals), from the folio Derriere le miroir, No. 69–70, originates from...

Pierre Paulin wall lamp 6135GM in grey for Disderot. Originally designed by Pierre Paulin in 1959, this light creates a precisely focused effect, shielded from the eye. Made from fol...