66 results for "olafur eliasson"

Olafur Eliasson (Danish-Icelandic, b. 1967) Herbarium, 2021 Medium: Collage of dried and pressed Nympheas Ellisana water lilies (Latour-Marliac) on Lanaquarelle handmade paper, in fl...

Olafur Eliasson Herbarium, 2021 Dried and pressed Nympheas Ellisiana water lilies (Latour-Marliac) on Lanaquarelle hand-made3250 paper 300gm, framed varnished with day and fluorescent paint...

Contact is content at Seljalandsfoss, Contemporary, 21st Century, C Print C-Print Edition of 100 Each 53 x 42 cm (20 x 16.5 in.) Signed and numbered on adhesive label In mint conditi...

Signed and dated on label affixed to reverse 12 silver gelatin prints and 4 C-type prints 9 x 14 inches each From an edition of 6

This poster from the Dallas Museum of Art features Olafur Eliasson’s mesmerizing Jökla Series, a body of work that seamlessly blends natural elements with immersive visual expression...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), originates from the 1972 album Calder autobiographie. Published by Maeght Editeur, Paris, and...

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...

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...

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...

This exquisite lithograph by Alexander Calder (1898–1976), titled Soleil orange (Orange Sun), from the folio Derriere le miroir, No. 69–70, originates from the 1954 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1954. This work captures Calder’s mastery of motion, balance, and vibrant color through the spontaneous energy of his abstract forms, embodying the rhythmic harmony and visual poetry that defined his art. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Alexander Calder (1898–1976) Title: Soleil orange (Orange Sun), from the folio Derriere le miroir, No. 69–70 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Unsigned and unnumbered as issued Date: 1954 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 69–70, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1954 About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alexander Calder (1898–1976) was an American sculptor, painter, and printmaker whose pioneering innovations in kinetic art revolutionized 20th-century sculpture and transformed modern visual language. Born in Lawnton, Pennsylvania, into a family of artists, Calder initially trained as a mechanical engineer at the Stevens Institute of Technology before turning to art at the Art Students League in New York—a combination of technical precision and creative imagination that defined his career. Moving to Paris in 1926, he immersed himself in the avant-garde and formed friendships with Pablo Picasso, Alberto Giacometti, Joan Miro, Wassily Kandinsky, Salvador Dali, Marcel Duchamp, and Man Ray, whose ideas profoundly shaped his artistic philosophy. From Picasso, he absorbed structural invention; from Miro, lyrical abstraction; from Kandinsky, spiritual geometry; and from Duchamp and Man Ray, the courage to merge intellect and play. In Paris, Calder created his famous Cirque Calder, a miniature mechanical circus that introduced motion and performance as central components of sculpture, and by the early 1930s, he invented the mobile—a term coined by Duchamp—to describe his delicately balanced, moving sculptures that responded to air currents. Later, Jean Arp would name his stationary counterparts stabiles. These two inventions—sculptures that could either float and spin gracefully or stand monumentally still—transformed art into a dynamic dialogue between movement, balance, and space. Calder’s signature forms, painted in vivid reds, blacks, blues, and yellows, embodied both joy and precision, creating an art that was at once abstract, organic, and deeply human. Like Kandinsky and Miro, he viewed art as a form of rhythm and emotion; like Duchamp, he embraced innovation and humor; and like Giacometti and Dali, he was fascinated by perception, structure, and the unseen forces of motion. His monumental public sculptures—such as La Grande Vitesse (1969) in Grand Rapids and Flamingo (1973) in Chicago—redefined public art as a symbol of civic optimism and modern progress. A key bridge between European modernism and American abstraction, Calder’s influence extended to artists including Jean Tinguely, George Rickey, Donald Judd, Ellsworth Kelly, Richard Serra, and Olafur Eliasson, whose works in kinetic and spatial art continue to echo his vision. His gouaches, prints, and jewelry carried the same balance and movement as his sculptures, revealing a unified language of rhythm across media. Represented in every major modern museum—including MoMA, the Guggenheim, the Tate, and the Centre Pompidou—Calder remains celebrated for merging engineering, color, and poetry into an art of pure equilibrium. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he remains one of the cornerstones of modern art—a visionary whose works breathe with motion, grace, and joy. His highest auction record was achieved by Poisson Volant (Flying Fish) (1957), which sold for $25.9 million at Christie’s, New York, on May 15, 2014, reaffirming Alexander Calder’s enduring legacy as one of the most inventive, dynamic, and collectible artists in the history of modern art. Alexander Calder Soleil...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition aux Cercles (Composition with Circles), from the folio Derriere le miroir, No. 221, originates from the 1976 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1976. Composition aux Cercles reflects Calder’s mastery of rhythm, motion, and form—translating the dynamic energy of his sculptural works into bold, abstract compositions on paper, rich with color and movement. Executed as a lithograph on velin paper, this work measures 15 x 22 inches, with centerfold as issued. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Alexander Calder (1898–1976) Title: Composition aux Cercles (Composition with Circles), from the folio Derriere le miroir, No. 221 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.88 cm), with centerfold as issued Inscription: Unsigned and unnumbered as issued Date: 1976 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 221, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1976 Notes: Excerpted from the folio (translated from French), The illustrations on the cover and pages 3, 4-5, 6, 9, 12-13 and 16 of this issue of "Behind the Mirror" are original lithographs by Calder printed at l'imprimerie Arte, Adrien Maeght. It was printed a luxury edition on velin d'Arches in CL numbered examples. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alexander Calder (1898–1976) was an American sculptor, painter, and printmaker whose pioneering innovations in kinetic art revolutionized 20th-century sculpture and transformed modern visual language. Born in Lawnton, Pennsylvania, into a family of artists, Calder initially trained as a mechanical engineer at the Stevens Institute of Technology before turning to art at the Art Students League in New York—a combination of technical precision and creative imagination that defined his career. Moving to Paris in 1926, he immersed himself in the avant-garde and formed friendships with Pablo Picasso, Alberto Giacometti, Joan Miro, Wassily Kandinsky, Salvador Dali, Marcel Duchamp, and Man Ray, whose ideas profoundly shaped his artistic philosophy. From Picasso, he absorbed structural invention; from Miro, lyrical abstraction; from Kandinsky, spiritual geometry; and from Duchamp and Man Ray, the courage to merge intellect and play. In Paris, Calder created his famous Cirque Calder, a miniature mechanical circus that introduced motion and performance as central components of sculpture, and by the early 1930s, he invented the mobile—a term coined by Duchamp—to describe his delicately balanced, moving sculptures that responded to air currents. Later, Jean Arp would name his stationary counterparts stabiles. These two inventions—sculptures that could either float and spin gracefully or stand monumentally still—transformed art into a dynamic dialogue between movement, balance, and space. Calder’s signature forms, painted in vivid reds, blacks, blues, and yellows, embodied both joy and precision, creating an art that was at once abstract, organic, and deeply human. Like Kandinsky and Miro, he viewed art as a form of rhythm and emotion; like Duchamp, he embraced innovation and humor; and like Giacometti and Dali, he was fascinated by perception, structure, and the unseen forces of motion. His monumental public sculptures—such as La Grande Vitesse (1969) in Grand Rapids and Flamingo (1973) in Chicago—redefined public art as a symbol of civic optimism and modern progress. A key bridge between European modernism and American abstraction, Calder’s influence extended to artists including Jean Tinguely, George Rickey, Donald Judd, Ellsworth Kelly, Richard Serra, and Olafur Eliasson, whose works in kinetic and spatial art continue to echo his vision. His gouaches, prints, and jewelry carried the same balance and movement as his sculptures, revealing a unified language of rhythm across media. Represented in every major modern museum—including MoMA, the Guggenheim, the Tate, and the Centre Pompidou—Calder remains celebrated for merging engineering, color, and poetry into an art of pure equilibrium. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he remains one of the cornerstones of modern art—a visionary whose works breathe with motion, grace, and joy. His highest auction record was achieved by Poisson Volant (Flying Fish) (1957), which sold for $25.9 million at Christie’s, New York, on May 15, 2014, reaffirming Alexander Calder’s enduring legacy as one of the most inventive, dynamic, and collectible artists in the history of modern art. Alexander Calder Composition...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

From London with Love is a drawing series by Shizico Yi, composed of en plein air studies capturing quiet and private moment between the artist and the city in corners of London. Shi...

This exquisite lithograph by Alexander Calder (1898–1976), titled A San Lazzaro (To San Lazzaro), from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle ...

Juan Suarez (Spanish, b. 1946) Naturaleza Muerta, Mixed media painting on three assembled canvases, (triptych) It is either oil or acrylic paint. it seems like oil to me. A label ve...

OK Corral - part 2 - (Stranger than Paradise), - 1999, 20x20 cm, Edition 5/10, digital C-Print based on the Polaroid, Artist Inventory 318_2.18, Not mounted. Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) Exhibitions Selected (selected) 2018 Participation Bombay Beach Biennale, Bombay Beach, USA (G) March Available to All, Rough Play Projects - Site Specific, Joshou Tree, USA (G) curated by Deborah Martin with Adam Berg, Doron Gazit, Kellan Barnebey, Chris Sanchez, Aili Schmelzt 2017 BLICKFELD Analoge Fotografie, Kommunale Galerie Steglitz-Zehlendorf (G) (catalog), (upcoming)
 Rosegallery, Bergamot Station, Santa Monica (G) Magie des Moments, Kunstverein Bad Homburg Artlantis, Bad Homburg (G) 2016 
Instantdreams, Instantdreams Gallery, Berlin 

(S) 2015
 Desert Voices, De Re Gallery, Los Angeles (G) with Pamela Littky The Ballery in Heat, The Ballery, Berlin (G) 
Blue Nudes, De Re Gallery, Los Angeles (G) 

 2014

 Summer Show, Galerie Catherine et André Hug, Paris, France (G) 6 Finalists, Saatchi Gallery London (G) 
Instantdreams, De Re Gallery, Los Angeles (S)
Grand Opening, De Re Gallery, Los Angeles (G) with Banksy, Andy Warhol, Alison Bignon, Sophie Dickens, Victor Gingembre and others
 2013 
Heather's Dream, Short, nominated for the German Short Film Award 2013 (Deutscher Kurzfilmpreis)
Images For Images (Artists fir Tichy), GASK - Gallery of the Central Bohemian Region,  Kutná Hora, Czech Republic, (G) with Richard Prince, Nan Golding, Shirana Shahbazi, Sophie Calle, Martin Kippenberger, Arnulf Rainer, Thomas Ruff, Katharina Grosse, Jonathan Meese & others (catalog) 
The Girl behind the White Picket Fence, Galerie Catherine et André Hug, Paris, France (S)
 Heather's Dream, Short, German Competition Short Film Festival Oberhausen 
Multimedia Presentation with Artist Stefanie Schneider, Palms Springs Art Museum, Annenberg Theater
 The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Poughkeepsie, NY, (G) with Ansel Adams, Bruce Charlesworth...

This exquisite lithograph by Alexander Calder (1898–1976), titled L'Homme aux Bras Leves (Man with Raised Arms), from the folio Derriere le miroir, No. 221, originates from the 1976 ...

This exquisite lithograph by Yaacov Agam (born 1928), titled Composition sur fond noir (Composition on a Black Background), from the album XXe siecle, Nouvelle serie, XL Annee, No. 5...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les Trois Visages (The Three Faces), from the folio Derriere le miroir, No. 221, originates from the 1976 edition pu...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre et Les Trois Visages (Untitled and The Three Faces), from the folio Derriere le miroir, No. 221, originat...

This exquisite lithograph by Yaacov Agam (born 1928), titled Composition en mouvement (Composition in Motion), from the album Homage to Agam, Solomon R. Guggenheim Museum Exhibition ...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), originates from the 1972 album Calder autobiographie. Published by Maeght Editeur, Paris, and...

ODETTA is pleased to present works by Carol Diehl as our Flat File Feature Artist. Opening each drawer in the cabinet presents one in a series of pastel drawings that the artist beg...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), originates from the 1972 album Calder autobiographie. Published by Maeght Editeur, Paris, and...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXXIIIe Annee, No. 37, Decembre 1971, originates f...

'Camille's Catching' (Beachshoot) The Original Polaroid - Unique Piece 1/1 - 2005 10.8x8.8cm including white Polaroid frame Artist inventory 21384.00 signed on verso Stefanie Schne...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition aux Cercles (Composition with Circles), from the folio Derri...

This exquisite lithograph by Yaacov Agam (born 1928), titled Composition polymorphe (Polymorphic Composition), from the album Homage to Agam, Solomon R. Guggenheim Museum Exhibition ...

ODETTA is pleased to present works by Carol Diehl as our Flat File Feature Artist. Opening each drawer in the cabinet presents one in a series of pastel drawings that the artist beg...

ODETTA is pleased to present works by Carol Diehl as our Flat File Feature Artist. Opening each drawer in the cabinet presents one in a series of pastel drawings that the artist beg...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Forme Noire (Black Form), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by ...

This exquisite lithograph by Anna Eva Bergman (1909–1987), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXXII Annee No. 35...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition aux Spirales (Composition with Spirals), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1968. Composition aux Spirales exemplifies Calder’s mastery of rhythm and form, translating his sculptural language of balance and motion into vivid, dynamic compositions on paper that capture his signature sense of energy and harmony. Executed as a lithograph on velin paper, this work measures 15 x 22 inches, with centerfold, as issued. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Alexander Calder (1898–1976) Title: Composition aux Spirales (Composition with Spirals), from the folio Derriere le miroir, No. 173 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.88 cm), with centerfold, as issued Inscription: Unsigned and unnumbered as issued Date: 1968 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 173, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1968 Notes: Excerpted from the folio (translated from French), The illustrations in this issue are original lithographs by Alexander Calder drawn in the workshops of the Arte printing shop. This issue of "Behind the Mirror" has a luxury edition drawn on velin de Lana and limited to CL examples numbered and signed by the artist on the colophon. The text of G. Carandente was translated from Italian by Alain Veinstein. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alexander Calder (1898–1976) was an American sculptor, painter, and printmaker whose pioneering innovations in kinetic art revolutionized 20th-century sculpture and transformed modern visual language. Born in Lawnton, Pennsylvania, into a family of artists, Calder initially trained as a mechanical engineer at the Stevens Institute of Technology before turning to art at the Art Students League in New York—a combination of technical precision and creative imagination that defined his career. Moving to Paris in 1926, he immersed himself in the avant-garde and formed friendships with Pablo Picasso, Alberto Giacometti, Joan Miro, Wassily Kandinsky, Salvador Dali, Marcel Duchamp, and Man Ray, whose ideas profoundly shaped his artistic philosophy. From Picasso, he absorbed structural invention; from Miro, lyrical abstraction; from Kandinsky, spiritual geometry; and from Duchamp and Man Ray, the courage to merge intellect and play. In Paris, Calder created his famous Cirque Calder, a miniature mechanical circus that introduced motion and performance as central components of sculpture, and by the early 1930s, he invented the mobile—a term coined by Duchamp—to describe his delicately balanced, moving sculptures that responded to air currents. Later, Jean Arp would name his stationary counterparts stabiles. These two inventions—sculptures that could either float and spin gracefully or stand monumentally still—transformed art into a dynamic dialogue between movement, balance, and space. Calder’s signature forms, painted in vivid reds, blacks, blues, and yellows, embodied both joy and precision, creating an art that was at once abstract, organic, and deeply human. Like Kandinsky and Miro, he viewed art as a form of rhythm and emotion; like Duchamp, he embraced innovation and humor; and like Giacometti and Dali, he was fascinated by perception, structure, and the unseen forces of motion. His monumental public sculptures—such as La Grande Vitesse (1969) in Grand Rapids and Flamingo (1973) in Chicago—redefined public art as a symbol of civic optimism and modern progress. A key bridge between European modernism and American abstraction, Calder’s influence extended to artists including Jean Tinguely, George Rickey, Donald Judd, Ellsworth Kelly, Richard Serra, and Olafur Eliasson, whose works in kinetic and spatial art continue to echo his vision. His gouaches, prints, and jewelry carried the same balance and movement as his sculptures, revealing a unified language of rhythm across media. Represented in every major modern museum—including MoMA, the Guggenheim, the Tate, and the Centre Pompidou—Calder remains celebrated for merging engineering, color, and poetry into an art of pure equilibrium. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he remains one of the cornerstones of modern art—a visionary whose works breathe with motion, grace, and joy. His highest auction record was achieved by Poisson Volant (Flying Fish) (1957), which sold for $25.9 million at Christie’s, New York, on May 15, 2014, reaffirming Alexander Calder’s enduring legacy as one of the most inventive, dynamic, and collectible artists in the history of modern art. Alexander Calder Composition...

This exquisite lithograph by Alexander Calder (1898–1976), titled Deux Visages (Two Faces), from the folio Derriere le miroir, No. 221, originates from the 1976 edition published by ...

Happy endings (29 Palms, CA) - 2016 from 'The Girl behind the White Picket Fence' Original Polaroid - Unique Piece 1/1, 10.4 x 10.2 cm including white Polaroid frame. Signed on b...

This exquisite lithograph by Yaacov Agam (born 1928), titled Composition coloree (Color Composition), from the album XXe siecle, Nouvelle serie, XL Annee, No. 51, originates from the...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 221, originates from the 1976 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les Arcs (The Arches), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition Rouge et Jaune (Red and Yellow Composition), from the folio Derriere le miroir, No. 173, originates from...

Owen's Valley (Last Picture Show), 20 x 20 cm, 2001 Edition 5/10, digital C-Print based on a Polaroid, Artist Inventory 1088.05, not mounted Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) Exhibitions Selected (selected) 2018 Participation Bombay Beach Biennale, Bombay Beach, USA (G) March Available to All, Rough Play Projects - Site Specific, Joshou Tree, USA (G) curated by Deborah Martin...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition aux Triangles (Composition with Triangles), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1968. Composition aux Triangles exemplifies Calder’s mastery of rhythm and form, translating his sculptural language of balance and motion into vivid, dynamic compositions on paper that capture his signature sense of energy and harmony. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Alexander Calder (1898–1976) Title: Composition aux Triangles (Composition with Triangles), from the folio Derriere le miroir, No. 173 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Unsigned and unnumbered as issued Date: 1968 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 173, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1968 Notes: Excerpted from the folio (translated from French), The illustrations in this issue are original lithographs by Alexander Calder drawn in the workshops of the Arte printing shop. This issue of "Behind the Mirror" has a luxury edition drawn on velin de Lana and limited to CL examples numbered and signed by the artist on the colophon. The text of G. Carandente was translated from Italian by Alain Veinstein. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alexander Calder (1898–1976) was an American sculptor, painter, and printmaker whose pioneering innovations in kinetic art revolutionized 20th-century sculpture and transformed modern visual language. Born in Lawnton, Pennsylvania, into a family of artists, Calder initially trained as a mechanical engineer at the Stevens Institute of Technology before turning to art at the Art Students League in New York—a combination of technical precision and creative imagination that defined his career. Moving to Paris in 1926, he immersed himself in the avant-garde and formed friendships with Pablo Picasso, Alberto Giacometti, Joan Miro, Wassily Kandinsky, Salvador Dali, Marcel Duchamp, and Man Ray, whose ideas profoundly shaped his artistic philosophy. From Picasso, he absorbed structural invention; from Miro, lyrical abstraction; from Kandinsky, spiritual geometry; and from Duchamp and Man Ray, the courage to merge intellect and play. In Paris, Calder created his famous Cirque Calder, a miniature mechanical circus that introduced motion and performance as central components of sculpture, and by the early 1930s, he invented the mobile—a term coined by Duchamp—to describe his delicately balanced, moving sculptures that responded to air currents. Later, Jean Arp would name his stationary counterparts stabiles. These two inventions—sculptures that could either float and spin gracefully or stand monumentally still—transformed art into a dynamic dialogue between movement, balance, and space. Calder’s signature forms, painted in vivid reds, blacks, blues, and yellows, embodied both joy and precision, creating an art that was at once abstract, organic, and deeply human. Like Kandinsky and Miro, he viewed art as a form of rhythm and emotion; like Duchamp, he embraced innovation and humor; and like Giacometti and Dali, he was fascinated by perception, structure, and the unseen forces of motion. His monumental public sculptures—such as La Grande Vitesse (1969) in Grand Rapids and Flamingo (1973) in Chicago—redefined public art as a symbol of civic optimism and modern progress. A key bridge between European modernism and American abstraction, Calder’s influence extended to artists including Jean Tinguely, George Rickey, Donald Judd, Ellsworth Kelly, Richard Serra, and Olafur Eliasson, whose works in kinetic and spatial art continue to echo his vision. His gouaches, prints, and jewelry carried the same balance and movement as his sculptures, revealing a unified language of rhythm across media. Represented in every major modern museum—including MoMA, the Guggenheim, the Tate, and the Centre Pompidou—Calder remains celebrated for merging engineering, color, and poetry into an art of pure equilibrium. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he remains one of the cornerstones of modern art—a visionary whose works breathe with motion, grace, and joy. His highest auction record was achieved by Poisson Volant (Flying Fish) (1957), which sold for $25.9 million at Christie’s, New York, on May 15, 2014, reaffirming Alexander Calder’s enduring legacy as one of the most inventive, dynamic, and collectible artists in the history of modern art. Alexander Calder Composition...

'Radha Leopard Dress III' (29 Palms, CA) Edition 3/10, 20x20cm, 1999, digital C-Print, based on a Polaroid. Signature label and Certificate. Artist inventory 18258.03. Not mounted. Featuring Australian actress Radha Mitchell. Living and working in Los Angeles and Berlin, Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dreamscapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) Selected Exhibitions 2019 Participating and curating the newly founded Polaroid Museum at the Bombay Beach Biennale 2019 (G) invited project at Saatchi's The Other Art Fair, LA - Polaroid Curation Instant Dreams USA film release March/April NYC, L.A. 2018 participating and curating Bombay Beach Biennale 2018 (G) Rough Play Project, Available for all, Joshua, Tree, USA (G) 2017 BLICKFELD] Analoge Fotografie, Kommunale Galerie Steglitz-Zehlendorf (G) (catalog) Kunstverein Bad Homburg Artlantis, Bad Homburg (G)

 2016 
Instantdreams, Instantdreams Gallery, Berlin 

(S) 2015
 Desert Voices, De Re Gallery, Los Angeles (G) with Pamela Littky 
Blue Nudes, De Re Gallery, Los Angeles (G) 

 2014

 Summer Show, Galerie Catherine et André Hug, Paris, France (G) 6 Finalists, Saatchi Gallery London (G) 
Instantdreams, De Re Gallery, Los Angeles (S)
Grand Opening, De Re Gallery, Los Angeles (G) with Banksy, Andy Warhol, Alison Bignon, Sophie Dickens, Victor Gingembre and others
 2013 
Heather's Dream, Short, nominated for the German Short Film Award 2013 (Deutscher Kurzfilmpreis)
Images For Images (Artists fir Tichy), GASK - Gallery of the Central Bohemian Region,  Kutná Hora, Czech Republic, (G) with Richard Prince, Nan Golding, Shirana Shahbazi, Sophie Calle, Martin Kippenberger, Arnulf Rainer, Thomas Ruff, Katharina Grosse, Jonathan Meese & others (catalog) 
The Girl behind the White Picket Fence, Galerie Catherine et André Hug, Paris, France (S)
 Heather's Dream, Short, German Competition Short Film Festival Oberhausen 
Multimedia Presentation with Artist Stefanie Schneider, Palms Springs Art Museum, Annenberg Theater
 The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Poughkeepsie, NY, (G) with Ansel Adams, Bruce Charlesworth, Philip-Lorca diCorcia, Charles and Ray Eames, Robert Mapplethorpe, Lisa Oppenheim, Andy Warhol and others, (catalog)
 Road Atlas - Straßenfotografie, DZ Bank Collection: Kunsthalle Erfurt (Spring), Art Foyer DZ Bank, Frankfurt/Main, (G) with Helen Levitt, Pieter Hugo, Nobuyoshi Araki, Pietro Donzelli, and others (catalog)  
2012
 Stranger Than Paradise, Christian Hohmenn Fine Art, Palms Desert, (S)
 Stefanie Schneider, Gallery at Cliff Lede Vineyards, Napa Valley, CA, (S)
 Bienale Art Auction 2012, Museum of Contemporary Art San Diego, (G), with Ai Weiwei, John Baldessari, Christo, Ed Ruscha, Christopher Russell... MUSES, Galerie Catherine et André Hug, Paris, France (G) 
Polaroid (IM)POSSIBLE - THE WESTLICHT COLLECTION, NRW Forum Kultur und Wirtschaft, Düsseldorf (G), (catalog)
 Road Atlas - Straßenfotografie, DZ Bank Collection: Kunstmuseum Dieselkraftwerk, Cottbus, (G), (catalog), 
Studio Scholorship, Centro Cultural Andratx, Mallorca, May 2012
 Selling Sex, ShowStudio Gallery, London (G) with Cortney Andrews, Una Burke, Liz Cohen, Inge Jacobsen, and others
 Stranger Than Paradise, Scott White Contemporary, San Diego, (S) 

2011 
Kunst zu verlosen !  // Art to raffle off !, KW Institute for Contemporary Art, (G) with Monica Bonvicini, Tim Eitel...

Crow Burial III (Sidewinder) 20 x 20 cm, 2005, Edition 4/10, digital C-Print based on a Polaroid. Artist Inventory 3507.04, not mounted “It was Stefanie Schneider, who inspired me...

This exquisite lithograph by Alexander Calder (1898–1976), titled Forme Noire et Composition Rouge et Jaune (Black Form and Red and Yellow Composition), from the folio Derriere le mi...

'Renée's Dream' no. 7 (Days of Heaven), 26 x 32cm, 2005 digital C-Print, not mounted, Lumas Edition of 100, Artist Proof 4/4 based on a Polaroid Artist ...

Indian Summer III (The Last Picture Show) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid, Certificate and Signature label Arti...

Indian Summer II (The Last Picture Show) - 2005 20x20cm, Edition of 10, Archival C-Print, matte surface, based on a Polaroid, signature label and certificate, Artist Inventory 878.11. Not mounted Stefanie Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen., Bombay Beach Biennale 2018 / 2019. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project” now Polaroid) Exhibitions Selected (selected) 2018 Participation Bombay Beach Biennale, Bombay Beach, USA (G) March Available to All, Rough Play Projects - Site Specific, Joshou Tree, USA (G) curated by Deborah Martin with Adam Berg, Doron Gazit, Kellan Barnebey, Chris Sanchez, Aili Schmelzt 2017 BLICKFELD Analoge Fotografie, Kommunale Galerie Steglitz-Zehlendorf (G) (catalog), (upcoming)
 Rosegallery, Bergamot Station, Santa Monica (G) Magie des Moments, Kunstverein Bad Homburg Artlantis, Bad Homburg (G) 2016 
Instantdreams, Instantdreams Gallery, Berlin 

(S) 2015
 Desert Voices, De Re Gallery, Los Angeles (G) with Pamela Littky The Ballery in Heat, The Ballery, Berlin (G) 
Blue Nudes, De Re Gallery, Los Angeles (G) 

 2014

 Summer Show, Galerie Catherine et André Hug, Paris, France (G) 6 Finalists, Saatchi Gallery London (G) 
Instantdreams, De Re Gallery, Los Angeles (S)
Grand Opening, De Re Gallery, Los Angeles (G) with Banksy, Andy Warhol, Alison Bignon, Sophie Dickens, Victor Gingembre and others
 2013 
Heather's Dream, Short, nominated for the German Short Film Award 2013 (Deutscher Kurzfilmpreis)
Images For Images (Artists fir Tichy), GASK - Gallery of the Central Bohemian Region,  Kutná Hora, Czech Republic, (G) with Richard Prince, Nan Golding, Shirana Shahbazi, Sophie Calle, Martin Kippenberger, Arnulf Rainer, Thomas Ruff, Katharina Grosse, Jonathan Meese & others (catalog) 
The Girl behind the White Picket Fence, Galerie Catherine et André Hug, Paris, France (S)
 Heather's Dream, Short, German Competition Short Film Festival Oberhausen 
Multimedia Presentation with Artist Stefanie Schneider, Palms Springs Art Museum, Annenberg Theater
 The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art Center, Poughkeepsie, NY, (G) with Ansel Adams, Bruce Charlesworth...

Wabi-Sabi (Sidewinder) - 9 Original Polaroids - Unique Piece, 2005 DECONSTRUCTIVISM, 2000 - present. About the narrative potential of images. each Polaroid 7.8 x 7,7cm (image area) ...

ODETTA is pleased to present works by Carol Diehl as our Flat File Feature Artist. Opening each drawer in the cabinet presents one in a series of pastel drawings that the artist beg...

ODETTA is pleased to present works by Carol Diehl as our Flat File Feature Artist. Opening each drawer in the cabinet presents one in a series of pastel drawings that the artist beg...

Artist: Lawrence Fodor – American (1951- ) Title: Passing Shaman 17 Year: 1989 Medium: Monotype Image size: 18 x 12 inches Sheet size: 30 x 22 inches Framed size: 32.5 x 24.5 inches Signature: Signed, dated lower right by the artist Condition: Excellent Frame: Floating. Framed in modern wood frame. Frame in good condition. This haunting monotype is by the well-known artist Lawrence Fodor (1951-). It is in excellent condition, archivally mounted and floating in a modern wood frame. The maple frame is in good condition with a few very light scratches. Lawrence Fodor began the pursuit of painting when he was 10. He studied at Orange Coast College and received a BFA from Otis Art Institute in Los Angeles, California where he also did graduate work towards his MFA in printmaking and painting. He has studied, traveled and lived in Europe, Asia, Central and South America. His work is exhibited and collected extensively in private and public collections including the Lannan Foundation in Santa Fe, New Mexico and recently by the Modern Art Museum of Forth Worth, Texas, among others. In addition to a studio art career as a painter and printmaker he has done curating and fine art consulting, residential design and construction, graphic design, gallery management, set design and production for live theater. He has worked and had studios in Los Angeles, Long Beach and Santa Barbara, California, Kathmandu, Nepal, Tucson, Arizona and Santa Fe, New Mexico. He currently lives and works in Los Angeles, California and Santa Fe, New Mexico. Maintaining studios in both locations, his work includes painting using oil, alkyd resin and cold wax on canvas, panels, and wood boxes, monotypes, watercolors, other works on paper and photography. Source: Artist's website C UR R I C U L U M V I T A E BORN 1951, Los Angeles, CA. EDUCATION 1974 – 1976 Graduate Work toward MFA, Otis Art Institute • Los Angeles, CA 1973 Bachelor of Fine Arts, Drawing/Printmaking Major • Otis Art Institute • Los Angeles, CA 1971 Associate of Arts Degree, Fine Arts Major • Orange Coast College • Costa Mesa, CA TRAVEL 2015 – 2016 Independent study & research in Baja del Sur, Mexico 2013 Independent study & research in Key West & surrounding Keys & Islands including Dry Tortugas National Park 2009 – 2010 Independent study & research in Costa Rica, Argentina & Patagonia 1985 – 2008 Independent study & research in England, France, Germany, Italy, Spain, Mexico & Costa Rica 1974 – 1975 Independent study in Katmandu, Nepal 1974 Independent study & research in England, France, Germany, Holland, Italy & Switzerland S E L ECTED EXHIBITIONS 2019 “…a tireless hand.” • Friesen Gallery • Sun Valley, ID 2017 Eclipse: obscured memories • Friesen Gallery • Sun Valley, ID Amended Mythologies • Solo Exhibition • SCAPE • Corona del Mar, CA Purple Haze • Group Exhibition • Charlotte Jackson Fine Art • Santa Fe, NM 2016 EMERGENCE • Group Exhibition • Charlotte Jackson Fine Art • Santa Fe, NM 2014 Without Gravity • Solo Exhibition • Chiaroscuro @ Gebert Contemporary • Santa Fe, NM 2013 Friends and Family • Three-Person Exhibition with Florence Pierce & Mala Breuer • Charlotte Jackson Fine Art • Santa Fe, NM Again: Repetition, Obsession and Meditation • Group Exhibition with Agnes Martin, Sol Lewitt, Olafur Eliasson, Uta Barth, Chuck Close, Susan York & others • Lannan Foundation • Santa Fe, NM 2012 Infinite Sequence 2 • Two-Person Exhibition with Chris Richter • Friesen Gallery • Sun Valley, ID Holding Light 4: 315 paintings • Site-specific installation • ALCOVE 12.6: New Mexico Museum of Art • Santa Fe, NM Holding Light 02: 81 paintings • Installation • Laguna Art Museum • Laguna Beach CA Infinite Sequence • Two-Person Exhibition with Chris Richter • SCAPE • Corona del Mar, CA 2010 Ligatures and Kōan Boxes • Solo Exhibition • Friesen Gallery • Seattle, WA Considered • Group Exhibition • Friesen Gallery • Sun Valley, ID Speak for the Trees • Group Exhibition • Friesen Gallery • Sun Valley, ID & Seattle, WA 2009 Kōan Boxes • Solo Exhibition • Lannan Foundation • Santa Fe, NM Ligatures & Kōan Boxes • Solo Exhibition • Friesen Gallery • Sun Valley, ID Ligatures & Kōan Boxes • Solo Exhibition • Linda Durham Contemporary Art • Santa Fe, NM 2008 Ligatures • Solo Exhibition • SCAPE • Corona del Mar, CA Gold • Group Exhibition • Linda Durham Contemporary Art Stochastic II • Solo Exhibition • R Duane Reed Gallery • St. Louis, MO 2007 Stochastic • Solo Exhibition • Linda Durham Contemporary Art • Santa Fe, NM 2006 Summer Moon • Solo Exhibition • SCAPE • Corona del Mar, CA 2005 Moment of Inertia • Solo Exhibition • Linda Durham Contemporary Art • Santa Fe, NM Winter Group Exhibition • Linda Durham Contemporary Art • Santa Fe, NM 2004 Sustained Resonance • Two-Person Exhibition • SCAPE • Corona del Mar, CA Beneath the Surface • Solo Exhibition • Friesen Gallery • Sun Valley, ID Beneath the Surface • Two-Person Exhibition • Friesen Gallery • Seattle, WA Greek Contributions to Mankind • An Exhibition of Contemporary American Art • Group Exhibition, catalog • United States Embassy • Athens, Greece • Curator: Virginia Shore 2003 A Given Moment – Part 2 • Two-Person Exhibition • Peyton Wright Gallery • Santa Fe, NM Group exhibition • Jeannie Denholm • The Shed • Newport Beach, CA Outside Within • Group Exhibition • Friesen Gallery • Seattle, WA 2002 The Art Collection • Embassy of the United States of America • Dar Es Salaam, Tanzania 2002 A Given Moment • Solo Exhibition • Friesen Gallery • Sun Valley, ID Group Exhibition • Peyton Wright Gallery • Santa Fe, NM 2001 Stream from the Clearing • Two-Person Exhibition • Peyton Wright Gallery • Santa Fe, NM Group Exhibition • Friesen Gallery • Seattle, WA 2000 Group exhibition • Peyton Wright Gallery • Santa Fe, NM Group exhibition • Friesen Gallery • Seattle, WA 1999 Vestiges II • Solo Exhibition • Peyton Wright Gallery • Santa Fe, NM 1998 Into the Clearing • Two-Person Exhibition • Peyton Wright Gallery • Santa Fe, NM The Romantic Landscape • Group Exhibition • Turner Carroll Gallery • Santa Fe, NM Vestiges • Solo Exhibition • Friesen Gallery • Seattle, WA 1997 The Dialogue Within • Solo Exhibition • Friesen Gallery • Sun Valley, ID Setting Prayers on Fire • Solo Exhibition • Peyton Wright Gallery • Santa Fe, NM 1996 Solo Exhibition • Peyton Wright Gallery • Santa Fe, NM Two-Person Exhibition with Lucy Brown • Diane Nelson Fine Art • Laguna Beach, CA • Curator: Jeannie Denholm 1995 Setting Prayers on Fire • Solo Exhibition • Zenith • Denver, CO • Curator: Kyle Belding 1994 Two-Person Exhibition with Peter Joseph • Peyton Wright Gallery • Santa Fe, NM Solo Exhibition • Jan Maiden Contemporary Art • Columbus, OH 1993 Two-Person Exhibition with Holly Roberts • Jeannie Denholm Fine Art • Newport Beach, CA Solo Exhibition • Canyon Contemporary Art • Columbus, OH 1992 Perigrinari • Solo Exhibition • Peyton Wright Gallery • Santa Fe, NM 1991 Ex Arcanum Locus • Solo Exhibition • Friesen Gallery • Seattle, WA A Sense of Place • Group Exhibition• Peyton Wright Gallery • Santa Fe, NM 1990 In Lucem Proferre • Solo Exhibition • Friesen Gallery • Sun Valley, ID Monotypes from Black Mesa Workshop • Group Exhibition • Lone Pine Gallery • Irvine, CA Ritual Images/Ritual Objects • Two-Person Exhibition with Ann Mallory • Lone Pine Gallery • Irvine, CA 1989 Solo Exhibition • Friesen Gallery • Sun Valley, ID 1983 Solo Exhibition • Pamela Auchincloss Gallery • Santa Barbara, CA 1981 Solo Exhibition • Pamela Auchincloss Gallery • Santa Barbara, CA PUBL ICATIONS 2017 The Beauty in Painting A Time After Time. Sun Valley Property News, article by Courtney Lauck. 30 July 2017. “Chaco Issue,” Pasatiempo, Santa Fe New Mexican. Multiple photographs illustrating various articles about Chaco Culture National Historical Park. 21 April 2017. 2015 Chaco Canyon: Wandering the Past in the Present. Photographs & essay by the artist of Chaco Culture National Historic Park. Publisher: Andrews Art Books, Santa Fe, NM. 2015 Apparatus: in a Painter’s Studio. Photographs of vignettes in the studio of Lawrence Fodor by the artist, essay by Aline Branduaer. Publisher: Andrews Art Books, Santa Fe, NM. 2012 Holding Light, a catalogue documenting the work for an installation of paintings at the Laguna Art Museum, essay by Cyndi Conn. Publisher: Andrews Art Books, Santa Fe, NM 2009 Speak for the Trees, Composed by Andria Friesen, publisher Marquand Books, Inc., Seattle, WA. Illus.: In Lucem Proferre VIII, 1989-90, oil on canvas. Sarah S. King, Lawrence Fodor – Linda Durham Contemporary Art, Art in America, National Reviews, October 2009. Illus.: Ligature 12 Green/Blue-Green/Violet, oil/wax/alkyd on canvas. Kōan Boxes, catalogue to accompany Lannan Foundation Exhibition, essay Timothy Rodgers Ph. D., Chief Curator, New Mexico Museum of Art. Publisher: Lannan Foundation, Design Twin Palms Press, 2009. 2007 Hollis Walker “Larry Fodor...