Oil Prints and Multiples

Tom Alan Lieber, (American, born 1949), GTW #11 -7, 1986, Oil and mixed media on paper, 30.25 x 44 inches, Hand signed and dated lower right Provenance: Garner Tullis Workshop, ...

A beautiful abstracted landscape, mixed media print and painting, in soft pastel hues by California artist Katherine Chang Liu (American, 20th-century). Signed and dated "Katherine C...

Vibrant and dynamic monoprint by David Stephens (American, 20th Century). Sand (or a similar medium) was used in the pressing of this monoprint, creating a pocked texture in multiple...

JIM DINE Singing and Printing XIII. Unique color woodblock relief print with hand coloring in oil, acrylic, and charcoal and mechanical abrasion on cream wove paper, 2001. 69 3/4 x ...

Still Life is an original artwork realized in the mid-20th Century. A beautiful mixed colored oil on canvas on a vivid red colored background. Hand signed on the lower right margin.

A colorful, one of one, monoprint by Carmel, California artist Eleen Auvil (American, b. 1927). Stickers on verso with artist and framing info. Presented in a wood frame with a linen...

LEBAS Léonie (19th-20th) - Paris Belle Epoque Genre Scene - Oil on wood in pair - Copper leaf frames. Wood Dim (each) : 22 X 16 cm - Dim frame (eac...

Period mixed media print and painting by California artist Katherine Chang Liu (American, 20th-century). Signed "Fireworks Series #39" Katherine Chang Liu '87. Presented with a white...

Small abstract expressionist style monotype in navy blue, green, light violet, and soft yellow 'Untitled 4' by Jenny Nelson Monotype, mad...

Oil on canvas, 1985 Handsigned by the artist in pencil LCD4176

Signed lower right, 'Miklos Pogany' and dated '1987'; titled lower left, 'Flight to Byzanthium'. Additionally signed verso, dated, titled and inscribed 'Monotype printed at Don Farnsworth's Magnolia Editions. Oil, litho ink on paper'. Sheet dimensions: 31.25 x 42.5 Inches. Hungarian-born Maine resident, Miklos Pogany, is a prolific artist with an impressive exhibition history and work in the permanent collections of many major museums including the Metropolitan Museum of Art in New York. A master of multiple media, Pogany creates vivid works based on nature and the built environment, exploring and pushing the parameters of each medium. The artist describes his motivation as follows: "I react to wonder, desires, conflicts, meanings, memories, revenge, sexuality, love and death. I gather all these fragments and make some personal sense of it all." Education: 1964 - BA, St. Procopius College, IL 1965 - MA, University of Chicago, IL 1972 - Ph.D. University of Chicago, IL Museum Collections: Metropolitan Museum of Art, New York, NY The Phillips Collection, Washington, D.C. National Museum of American Art, Smithsonian Institute, Washington, D.C. Fogg Museum, Harvard University, Cambridge, MA Victoria and Albert Museum, London, England Bibliothèque Nationale, Paris, France New York Public Library Print Collection, New York, NY Boston Public Library Print Collection, Boston, MA Yale University Art Gallery, New Haven, CT Achenbach Foundation for the Graphic Arts, San Francisco, CA Davidson Art Center, Wesleyan University, Middletown, CT Harvey Littleton, Greenville, NC Jane Voorhees Zimmerli Art Museum, Rutgers State University, NJ Mattatuck Museum, Waterbury, CT Selected Awards: The Connecticut Vision, Mattatuck Museum Prize 1990 Prints International, Silvermine Galleries, CT Rockefeller Foundation Grant, Bellagio, Italy International Graphic Arts Foundation, Sigma Gallery, New York Louis Comfort Tiffany Foundation Award Connecticut Commission for the Arts SECA Award for Painting, San Francisco Museum of Modern Art Selected Exhibitions: 2019 Danese Corey, New York, NY 2012 Fort Point Arts Community, Boston, MA 2008 Harvard University Owl Club, Cambridge, MA 2004 Kantar Fine Arts, Newtonville, MA 1998 J. Leighton Gallery...

Soft and elegant 51-screen serigraph by Joe Price (American, b. 1935). This piece has the appearance of an oil painting, due to the uncharacteristically high number of screens used i...

Figures is an original painting in oil and tempera on hard cardboard, realized by Sergio Barletta in 1960. Hand-signed at the top-left. In good conditions. The artwork represents ...

Manfred Rapp ( b 1956, Germany ) Title: "Join the Campaign" Medium: Print & Multiple Size: 30 x 40 in. Movement: Contemporary --

Artist: Louis Dancourt, French XXth Title: Along the Seine II Year: 1946 Medium: Oil on Canvas mounted to Wood, signed l.r. and dated verso Image Size: 16 x 20 in. (40.64 x 50.8 cm) ...

Manfred Rapp ( b 1956, Germany ) Title: Plan B, Trump Tower Medium: Print Size: 30 x 24 in. Movement: Contemporary

Red Composition is an original oil on canvas realized by Marcello Avenali during the 1970's. Hand-signed and titled Composizione in rosso on the back. Artwork exhibited on the occa...

As an artist, TIFFANY CALVERT applies contemporary painting techniques to historical imagery. Her recent work uses the seventeenth-century Dutch floral still life as a springboard fo...

Dylan Lloyd Island Path VIII Original Oil Painting on Canvas Oil Paint on Canvas Framed in a White Box Frame Image size: H 30cm x W 24cm x D 0.5cm Framed S...

Krzysztof Wieczorek (born in 1954) Studied at the Faculty of Graphic Arts at the National School of Fine Arts. He received his diploma from the atelier of prof. Leszek Rozga in 1977.

As an artist, TIFFANY CALVERT applies contemporary painting techniques to historical imagery. Her recent work uses the seventeenth-century Dutch floral still life as a springboard fo...

As an artist, TIFFANY CALVERT applies contemporary painting techniques to historical imagery. Her recent work uses the seventeenth-century Dutch floral still life as a springboard fo...

Flower Field Trevor Waugh Oil on board Unframed Flowers

Geometric limited edition etching, hand painted abstract of an orange and blue figure inside of a circle by Pierre Brisson (French, b, 1955). Signed "Brisson" lower right and "720/75...

La Limite - 150 x 130 cm - oil on canvas - 2018

Circus is an original oil painting on canvas, realized in 2019 by the emerging artist, Anastasia Kurakina. Signed and dated in black ink on the back. This original painting represe...

MONIKA ROSSA studied painting at the University of Arizona, in the Ecole des Beaux Arts in Paris and at the Escuela de Diseno in Barcelona. She practices drawing and easel painting....

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Original panting on canvas. Hand signed on front, titled on verso. Framed. Canvas size 28 x 41 in. Additional images available upon request. Certificate of authenticity included. A...

Ben-Zion. MAN PLAYING LYRE. Oil on canvas, not dated. Signed. 17 x 8 inches. In very good condition. A powerful, expressionistic image. Born Ben-Zion Weinman in Ukraine, 1897, ...

Artist: Rex Clawson, American (1929 - 2007) Title: Family Year: circa 1979 Medium: Oil on Board, signed l.r. Size: 22 in. x 14 in. (55.88 cm x 35.56 cm) Frame Size: 26 x 18 inches

Hand painted mixed media on screen print. Edition size: 10 Painting based on a poem by 13th century Sufi mystic poet Rumi. "Tender words we spoke to one another Are sealed ...

Lithography oil inks on white BFK Rives Printmaking Paper. Unframed. 11" x 8.5" At the core of the dialogue between the artist and the work is an attempt to push the medium to its l...

Original oil on canvas, 1983. Ivan Rabuzin was a Croatian naive painter and one of the most eminent lyric painters of the 20th century in Croatia. For many years he worked as a carpe...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits of Neil Armstrong. Cao seamlessly ties together two astronomical events from the ‘60s: Ali’s incredible career and the moon landing...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits of Neil Armstrong. Cao seamlessly ties together two astronomical events from the ‘60s: Ali’s incredible career and the moon landing...

It’s a series in which the person portrayed begins a new journey. The water represents the link with the emotions when you start a new chapter of your life.

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits...

Work for BOUNDLESS SPHERE.

This is the fifth painting of the ‘F’ series works, a new body of work by the artist, representing the exploration of alphabetics and language. The meaning of this chosen letter, may...

Badillo, an artist of Ashkenazi Jewish heritage, made this work recently this year, as part of Holocaust Remembrance Day. The Hebrew inscription “Ein S...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extra...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil paint and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Limited edition. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

1977 Oil on shaped aluminum S. 18 7/8 x 12 1/2 x 1/4 in. (47.9 x 31.8 x 0.6 cm) Unique Signed

Archival Pigment Print on canvas Edition size: 10 plus 2 artist proofs Each canvas is hand painted by the artist Available in the following sizes: 20" x 40" • 30" x 60" • 36" x 72" • 47" x 96" “American Icon” examines the world’s perception of America. It combines quintessential American imagery to create a depiction of this nation as seen through the eyes of the world. From the Founding Fathers to Facebook, Cowboys and the Wild West; The Wright Brothers to PanAm; Mickey Mouse to Marilyn Monroe, John Wayne, Frank Sinatra, Elvis; Babe Ruth to Hank Aaron...