550 results for "sol lewitt"

Robert Indiana (1928-2018) was a pre-eminent figure of American Pop art best known for his masterpiece, the iconic "LOVE". Inspired by the mythology of the American dream, Indiana e...

This vibrant colorful painting is fully hand signed, dated and titled verso. It might be acrylic but it looks like oil or enamel ad I have seen it described thusly. This listing is...

In this abstract oil painting, Dintino uses warm and quite angry tones to convey 'revolution'. Dintino's work has to do with the melding of title and piece. His paintings all illu...

Patrick Dintino paints vertical bands of glowing color in a horizontal or rectangular format that read as both a scientific representation of the spectrum and an emotional landscape ...

Jiri Kolar, Czech (1914-2002) "Musical Notes" Paper Collage Ink on Paper Hand signed with Initials Lower Right. Dimensions: Sight-7.5" x 11". Frame-17" x 21" Circa: 1960's-1...

Lynne Golob Gelfman, American (1944-2020) Abstract Composition Acrylic polymer on paper Hand signed and dated recto Sheet: 22 x 30 inches Frame dimensions: 26 x 33 frame with glazing...

In this contemporary painting in acrylic on linen mounted on a shaped panel, two vertical blocks of color in dark lapis blue and soft, mottled orange are luminous against thinner neutral sections of exposed linen. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. The artist contemplates the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay draws inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely uses a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist was the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

Dennis Oppenheim (1938 - 2011) Pencil and colored pencil drawing on paper, 'Memory Generator Receiver; Transmitter project for ACE Gallery Los Angeles' (possibly with watercolor pai...

Peter Orlovsky reads poem disrobed at Judson Memorial Church. Behind him is Allen Ginsberg - December 6th, 1964. (by Washington Square Park in Greenwich Village, New York City.) Phot...

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...

Carefully ordered blocks of color in a warm, golden shade of yellow and a deep shade of gray are vibrant against the neutral, earthy beige linen mounted on a shaped panel. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. The artist contemplates the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay draws inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely uses a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist is the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

Patrick Dintino paints vertical bands of glowing color in a horizontal or rectangular format that read as both a scientific representation of the spectrum and an emotional landscape ...

Patrick Dintino paints abstract vertical bands of glowing color in a horizontal or rectangular format that read as both a scientific representation of the spectrum and an emotional l...

Patrick Dintino paints vertical bands of glowing color in a horizontal or rectangular format that read as both a scientific representation of the spectrum and an emotional landscape of pure color. Painted with oil on canvas mounted on wood board, the softly undulating stripes of light and dark generate their own kind of perceptual space, one that incorporates the naturally horizontal field of human vision. The titles of Dintino’s works; Eventide, Mirage, Ecstasy, allude to the subtle way remembered color is translated into an abstract configuration. Born in San Francisco, California, Patrick Dintino grew up in Sunnyvale, in the south bay area. He went to college in San Diego earning a BA degree in Industrial Arts from San Diego State University. He moved back to the Bay Area and earned a Masters of Fine Art degree at the California College of Arts and Crafts (CCA) in San Francisco and Oakland in 2001. Dintino was invited as a guest artist to work with Sol LeWitt to create “Sol LeWitt: A Retrospective” at SFMOMA. Since this time he was a finalist for SFMOMA’s SECA emerging artist award, and a Pollock/Krasner Foundation Grant recipient. His work is in numerous prominent private and corporate collections in the US and abroad. He currently teaches painting at California College of the Arts (Oakland/San Francisco, CA). Patrick Dintino "Vapor Trail...

This abstract painting by Roger Mudre features a warm red and orange palette, with light, imperfect circle shapes layered over one another throughout the composition. The painting is...

George Mauersberger (American, 20th Century) Veg 7, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

Clean and precise, carefully ordered stripes and lines with orange and ochre stripes in a square shape against the neutral beige lined background. This contemporary abstract painting...

Clean and precise, carefully ordered blocks of color in light blue and light green are lively and vibrant while thin, delicate lines in blue and navy frame the shapes. Signed, dated ...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper All approx. 24 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

In this contemporary geometric abstract painting in acrylic on linen mounted on a shaped panel, carefully ordered horizontal blocks of color in pale green, light teal blue and soft sage are luminous against thinner neutral sections of exposed beige linen. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. The artist contemplates the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay draws inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely uses a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist was the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated on the back. Walker's paintings work particularly well in groupings -- see photo gallery f...

In this abstract painting in acrylic on canvas by Elizabeth Gourlay, clean and precise, carefully ordered blocks of color in blue and light mint green are vibrant against a calm, neu...

Alan Johnston (Scottish, born 1945), Untitled, 1988, cast bronze, edition of 2, cast #2 Incised A.J. 2/2 88 on underside Provenance: Jack Tilton Galler...

Clean and precise, carefully ordered stripes and blocks of color in orange, green, pale lemon yellow, gray, blue, purple and brown are lively and vibrant against the soft beige backg...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated on the back. Walker's paintings work particularly well in a pair or series -- see photo gal...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated on the back. Walker's paintings work particularly well in a pair or series -- see photo gal...

Clean and precise hand-painted stripes and blocks of color in yellow, orange, light blue and dark gray are warm and vibrant against the soft beige background. Signed, dated and title...

Clean and precise, carefully ordered stripes and blocks of color in orange, gray blue, pale yellow, blue and brown are lively and vibrant against the soft beige background. Signed, d...

In this abstract painting by Elizabeth Gourlay, clean and precise, carefully ordered stripes and blocks of color in gray, light green, red orange and blue are lively and vibrant agai...

In this contemporary abstract painting in acrylic on linen mounted on panel, carefully ordered horizontal blocks of color along the edge of the composition in pink, orange and light ...

In this contemporary painting in acrylic on canvas mounted on a shaped panel by Elizabeth Gourlay, carefully ordered blocks of color in a luminous, grassy shade of green frame two th...

In this contemporary abstract painting in acrylic and graphite on linen mounted on a shaped panel by Elizabeth Gourlay, a pale pink stripe of color is warm against neutral beige gray...

Clean and precise, carefully ordered stripes and blocks of color in pale mint green, light blue, brown, beige and burnt orange complement the soft gray and beige background. Signed, ...

Contemporary abstract painting in acrylic and graphite on panel of geometric shapes and blocks of color. Signed on verso. Elizabeth Gourlay’s work is a meditation on color and form,...

"Cocoon (1990)" by Suzanne Anker Suzanne Anker (born August 6, 1946) is an American visual artist and theorist. Considered a pioneer in Bio Art. She has been working at the relationship of art and the biological sciences for more than twenty five years. Her practice investigates the ways in which nature is being altered in the 21st century. Concerned with genetics, climate change, species extinction and toxic degradation, she calls attention to the beauty of life and the "necessity for enlightened thinking about nature’s 'tangled bank'.” Anker frequently works with "pre-defined and found materials"botanical specimens, medical museum artifacts, laboratory apparatus, microscopic images and geological specimens. Suzanne Anker was born in Brooklyn, New York on August 6, 1946. She earned a B.A. in Art from Brooklyn College of the City of New York and an M.F.A. from the University of Colorado in Boulder (1976). She also completed independent Studies with Ad Reinhardt (1966-1967) and studied at the Brooklyn Museum Art School (1968). She lives with the artist Frank Gillette in Manhattan and East Hampton, NY. During the mid 70s to the mid 80s, Anker worked almost exclusively on sculptural handmade paper reliefs. She started papermaking in 1974 on the basis of reading Dard Hunter's and Claire Romano's books. In 1975 she worked with Garner Tullis at the Institute of Experimental Printmaking in Santa Cruz, California. The paper reliefs produced at his institute were exhibited at the Martha Jackson Gallery in New York City in 1976.[ The same year, she participated in the North American Hand Papermaking exhibition organized by Richard Minsky at the Center for Book Arts in New York City. From a background as a printmaker, Anker initially worked with cast paper, made in latex molds. Subsequently, she incorporated limestone and fossils in her experiment with combinations of paper and stone. For her 1979 solo exhibition at the Walker Art Center, Anker installed large limestone planks that extended from the interior to the exterior of the gallery. The same year, she presented an installation of limestone and its residual chalk dust at P.S. 1’s "A Great Big Drawing Show" curated by Alanna Heiss with artists Vito Acconci, Alice Aycock, Frank Gillette, Sol LeWitt, Robert Morris, Bruce Nauman, Dennis Oppenheim, Richard Serra, and others. Suzanne Anker is considered "one of the pioneers in the broader field of art, science, and technology", particularly in the burgeoning field of Bio Art. In 1994, Suzanne Anker curated Gene Culture: Molecular Metaphor in Visual Art – one of the first art exhibitions on the subject of art and genetics – at Fordham University’s Lincoln Center Campus in New York. The exhibition investigated "the ways in which genetic imaging operates as aesthetic signs". From 2004 to 2006, Suzanne Anker hosted twenty episodes of the Bio-Blurb Show, a 30-minute-long internet radio program originally broadcast on WPS1 Art Radio, in collaboration with MoMA. The show focused on the intersection of art and the biological sciences, and the ethical and aesthetic dimensions therein. It is currently archived on Alanna Heiss’ Clocktower Productions. In 2006, Anker co-curated the exhibition Neuroculture: Visual Art and the Brain, at the Westport Arts Center with Giovanni Frazzetto. The exhibition presented an investigation of aspects of the human brain, and its attendant representations. Suzanne Anker is the Chair of the School of Visual Arts (SVA)'s BFA Fine Arts Department in New York City (2005-present). She previously chaired the SVA BFA Art History Department (2000-2005). In 2011, Anker founded the SVA Bio Art Lab, the first Bio Art laboratory in a Fine Arts Department in the United States. The SVA Bio Art Lab is located in Chelsea, New York City and has been conceived as a place where "scientific tools and techniques become methodologies in art practice". Anker has participated in lectures and symposia in prominent institutions around the world, including Harvard University, Boston; University of Cambridge, Cambridge, UK; Yale University, New Haven; Art-Sci UCLA, Los Angeles; Maryland Institute College of Art (MICA), Baltimore; Rensselaer Polytechnic Institute, New York; Museum of Arts and Design, New York; Nanyang Technological University, Singapore; London School of Economics, London; European Molecular Biology Laboratory- EMBL, Monterotondo, Italy; Max Planck Institute of Molecular Cell Biology and Genetics, Dresden; Leiden University, NL; Hamburger Bahnhof, Berlin; Dundee Contemporary Arts, Dundee; Courtauld Institute of Art, London; Banff Art Center, Alberta; The National Academies of Sciences, Engineering, and Medicine, Washington, D.C.; Berlin-Brandenburg Academy of Sciences and Humanities, Berlin;[ University of Amsterdam, NL; New York Academy of Sciences, Institute for the Humanities, New York University; DLD, Munich. Selected artworks Gene Pool Anker’s interests in the natural world extended her investigation into the microscopic domain of chromosomes and genes. Appropriating scientific images, she created Gene Pool in 1991, a body of work that includes suspended pigment on large vellum sheets and expansive sculptural arrays employing metallic fibers of stainless steel, copper, aluminum and bronze. Other works that reflect scientific representations of chromosomes include Chromosome Chart of Suzanne Anker –a presentation of her own DNA sequence as a self-portrait– and Cellular Script, in which she displays chromosome patterns as a kind of calligraphy. Biota (2011) is a sculptural installation by Suzanne Anker composed of porcelain sculptures and silver-leaf figurines. The porcelain objects are fabricated by immersing natural sea sponges into a mixture of kaolin, feldspar, and quartz. "The organic material of the sponge burns away in the process, leaving behind only the perfect replica of nature". Exhibitions Selected one-person exhibitions "The Biosphere Blues Mending an Unhinged Earth", O'NewWall, Seoul, Korea (2017). “Culturing Life”, Sam Francis Gallery...

In this contemporary abstract painting in acrylic on linen mounted on a shaped panel by Elizabeth Gourlay, carefully ordered blocks of color in salmon, peach and mauve are luminous a...

In this abstract painting in flashe and ink on canvas by Elizabeth Gourlay, clean and precise, carefully ordered stripes and blocks of color in soft blue, pale sage green, beige and ...

Attributed to: Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 23 1/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

In this contemporary abstract painting in gouache and acrylic on paper, clean and precise, carefully ordered thick horizontal stripes in shades of peach, light blue, dark navy, and a...

Gelatin silver print Signed, titled, dated, and numbered, verso 10 x 8 inches, sheet 5 x 5 inches, image This artwork is offered by ClampArt, located in New York City. Robert Vizz...

Terry Winters Lines of Communication (from Doctors of the World portfolio), 2001 Abstract expressionist digital pigment print on fine art paper with deckled edges 28 × 33 inches Penc...

In this contemporary abstract painting in acrylic on linen, carefully ordered horizontal blocks of color in salmon, peachy orange, lilac, mauve, gray and light purple are vibrant aga...

In this abstract painting in acrylic on linen mounted on panel by Elizabeth Gourlay, clean and precise, carefully ordered blocks of color in shades of magenta pink and green with hin...

Clean and precise, carefully ordered stripes and blocks of color in light green, dark sage, yellow ochre, pale lemon yellow and burnt orange are lively and vibrant against the neutra...

George Mauersberger (American, 20th Century) Veg 4, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

Jay Walker's Luminescent Polygons, painted on archival artist's paper with deckled edges, are infused with an internal light or glow, in much the same way that gems glow. Walker crea...

Jay Walker's latest series, "Inner Space," analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of...

Jay Walker's "Inner Space" series analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of 12 paintings on paper, Walker expl...

George Mauersberger (American, 20th Century) Veg 10, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed t...

Sylvia Plimack Mangold Six Inches Four Ways 1976 Rubber stamp print on Kilmurray paper Stamp made by Unity Engraving Company, Inc. Printed by A. Colish Press Paper size: 8 x 8 inches...

Jay Walker's "Inner Space" series analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of 12 paintings on paper, Walker expl...

Jay Walker's "Inner Space" series analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of 12 paintings on paper, Walker expl...

Jay Walker's "Inner Space" series analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of 12 paintings on paper, Walker expl...

Jay Walkers latest series, "Inner Space," analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of ...

George Mauersberger (American, 20th Century) Veg 2, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

George Mauersberger (American, 20th Century) Veg 3, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

Robert Smithson (January 2, 1938 – July 20, 1973) was an American artist who used photography in relation to sculpture and land art. signed in ink and with photographer stamp verso and hand written title. Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Village Voice Greenwich Village old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson, Jasper Johns, Franz Kline), actors (Dustin Hoffman, Robert De Niro on the set of “Taxi Driver”), musicians (Janis Joplin, Alice Cooper, Bob Dylan) and documentary images of early happenings and performances (Yayoi Kusama, Charlotte Moorman, Al Hansen, Jim Dine, Nam June Paik). The many images of Andy Warhol include the well-known one with his Brillo boxes at the Stable Gallery in 1964. Woody Allen, Diane Arbus, W. H. Auden, Francis Bacon, Joan Baez, Louise Bourgeois, David Bowie, Jimmy Breslin, William Burroughs, John Cage, Leo Castelli, Christo, Leonard Cohen, Merce Cunningham, William de Kooning, Jim Dine, Mark di Suvero, Marcel Duchamp, Bob Dylan, Federico Fellini, Allen Ginsberg, Robert Indiana, Mick Jagger, Jasper Johns, Kusama, John Lennon, Sol Lewitt, Roy Lichtenstein, Nam June Paik, Elvis Presley, Claes Oldenburg, Yoko Ono, Robert Rauschenberg, Lou Reed, James Rosenquist, Mark Rothko, Ed Ruscha, Robert Smithson, Susan Sontag, Andy Warhol, and others have all been shot by him. McDarrah’s prints have been collected in depth by the J. Paul Getty Museum and the National Portrait Gallery, Washington. His work is in numerous public and private collections. Smithson was born in Passaic, New Jersey. He studied painting and drawing in New York City at the Art Students League of New York from 1955 to 1956 and then briefly at the Brooklyn Museum School. His early exhibited artworks were collage works influenced by "homoerotic drawings and clippings from beefcake magazines", science fiction, and early Pop Art. He primarily identified himself as a painter during this time, but after a three-year rest from the art world, Smithson emerged in 1964 as a proponent of the emerging minimalist movement. His new work abandoned the preoccupation with the body that had been common in his earlier work. Instead he began to use glass sheet...

Richard Serra Marilyn Monroe - Greta Garbo Poster (Hand Signed by Richard Serra), 1982 Offset Lithograph poster published by Leo Castelli Gallery Hand signed on lower front in black ...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, white shades to create a larger blue circular form at the center of the composition. The painting, which is 36" x 36" (37.5" x 37.5" framed), transforms and shimmers in changing light due to hand-applied metal-leaf under-layer. It is framed in a gold-hued floater frame. It is wired and ready to hang. The focus of Roger Mudre’s work is the circle. This Connecticut-based artist finds inspiration in the colors and patterns of nature. Painting in jewel toned acrylics, he builds sheer layers of color on a subtly reflective metal leaf surface to create a picture plane that changes with the viewer’s perspective. Roger's work is part of many corporate and private collections including Hotel Zero Degrees in Norwalk, Connecticut, Frontier Communications, and the Energizer Corporation in Shelton, Connecticut. Roger is influenced by Joesph Albers...

Youth at mets Game waiting for Autograph on August 20th, 1970 Photographer is Fred McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland...