Talita do Nascimento Cabral Art

Lesley Richmond was born in Cornwall, England. Lesley now lives in Vancouver, BC, Canada. She received her art teachers training in London, England and her MEd in the USA. She taught...

Big Blooms No. 7 is a botanical collage artwork created with Hand Cut dyed paper by Deborah Weiss. The artwork is 28x22 and is in a white frame. The fr...

Blooms + Stems No. LC2023 is a botanical collage artwork created with Hand Cut dyed and painted paper by Deborah Weiss. The artwork is 30x22. It is unframed. It is a one of a kind floral artwork. Everylasting flowers. Vintage Paper This is part of the new “Blooms” series. According to Weiss, “Blooms is a celebration of the contemporary botanical image...

Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...

This two panel stretched and dyed rubber piece was created by American contemporary artist John Drummer in the early 2000's. This work was featured in the exhibition "Jack Drummer" organized by BT&C Gallery and which coincided with the Burchfield Penney Art Center's exhibition "The Effects of Time". This is currently the only work available for acquisition. The Burchfield Penney exhibition that featured these rare pieces was voted one of the best 10 exhibitions that year in ArtForum's 2016 Top Ten by Matthew Higgs, who would later curate an exhibition of Drummers work for White Columns gallery that was reviewed by Art in America in 2017. John E. (aka “Jack”) Drummer (1935-2013) was an itinerant and mercurial figure. Self-taught as an artist, his earliest works from the late 1950s and early 1960s were included in several key exhibitions in Buffalo and New York City, including the first of Allan Kaprow’s legendary ‘New Forms, New Media’ exhibitions that he curated for Martha Jackson’s gallery in 1960. Drummer’s 1962 solo exhibition at the Gordon Gallery, New York received a rapturous review from critic Brian O’Doherty in The New York Times, who praised Drummer for his ability to “make something out of nothing”, describing his work from this time as “screens for the imagination,” a notion that could equally be applied to his later works on view at White Columns in a 2017 solo exhibition. Despite this early success, Drummer would soon leave New York City, returning initially to Buffalo, before moving to New Orleans and then California, before eventually settling in Hawaii. Very little of Drummer’s early work has survived, including almost none of the 300-odd, often large-scale, styrofoam-based sculptures he produced in Hawaii. On returning to his home-town of Buffalo in the early 1980s, Drummer would embark on an extraordinary body of work that would preoccupy him for the next two decades. Drummer’s late work is clearly related to, and expands upon, the histories of minimal, post-minimal and process-orientated art. His approach is empathetic with that of the Italian Arte Povera artists, sharing their interest and investment in ‘poor’ and quotidian materials. Working almost exclusively with ‘found’ materials, and specifically materials that had previously been employed and subsequently discarded in industrial and manufacturing processes, Drummer’s work of the 1980s-early 2000s was largely overlooked and unexhibited during his lifetime. Drummer’s late works employ the rubber ‘blankets’ – used in offset printing to remove excess ink during the printing process – as supports. These ‘ready-made’ supports often revealed aspects of their ‘histories’: their surfaces are typically marked with ghostly images and texts resulting from the printing process. Drummer would then work directly onto and into these ‘pre-prepared’ supports. Drummer’s late works often incorporate impressions taken directly from the surfaces of walls, floors, and fencing, etc. – ‘images’ created by laying the rubber sheets face down onto a desired surface, and then applying pressure from the back of the sheet to create a subsequent negative impression or image of that surface, likely a physically demanding process, akin to making a ‘brass rubbing...

Temperature data for one of the 18 major river basins in the continental US, hemp, organic cotton dyed with plant- and insect-derived dyes and mineral mordants, petrochemical-derived...

Temperature data for one of the 18 major river basins in the continental US, hemp, organic cotton dyed with plant and insect-derived dyes and mineral mordants, petrochemical-derived ...

Collage, dye, oil and wax on linen This artwork is offered by ClampArt, located in New York City. Carl James Ferrero is an artist whose experimental paintings, drawings, collages an...

Collage, dye, oil and wax on linen This artwork is offered by ClampArt, located in New York City. Carl James Ferrero is an artist whose experimental paintings, drawings, collages an...

David B. Smith Gallery is proud to present "Same but Different", a solo exhibition by Brooklyn-based artist David B. Smith. What started as a humorous recognition by gallerist and artist that they share the same name led to broader questions: What is a self? What if each of us contains and shares many selves? What if other worlds existed where we can observe these selves taking actions we never made, almost did, or never even considered? Translating these questions through textile-based, artistic processes—embroidery, soft sculpture, prints, tufted wall...

Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...

Judy Rushin-Knopf (1959) was born in Dallas Texas and lives in Tallahasee, FL. Her work addresses bodies, access, and connection. She has exhibited her paintings, sculptures, and tex...