Cheung Yee (Zhang Yi)

The Beginning, 2021, cast paper, framed sculpture, black, Chinese text

1974

Three Balancing Hearts, sculpture, by Kerry Green, Santa Fe, red, silver, outside Aluminum with painted surface limited edition 18 Since childhood, Kerry Green has always been creative; painting, drawing, sculpting, and sewing. Her family provided her with materials and encouraged her efforts. She literally grew up in her parents’ art galleries, and with them toured the U.S., Europe, Mexico, Japan, and New Zealand, seeing museums and visiting artists’ studios. Growing up in Arizona and New Mexico gave her the opportunity to explore the Native reservations there where she has made life-long friendships. Several of her very early influences were Dr. Harry Wood...

Pollen Keeper II, aluminum sculpture, Navajo, purple, Melanie Yazzie, IAIA Mocna powder coated aluminum purple MELANIE YAZZIE, who has been represented by Glenn Green Galleries sin...

ART DECO CLOUD STEPS, Glenn Green, Santa Fe, art deco sculpture, silver steel Fabricated steel sculpture. Natural stone base available separately.

Fabricated steel or aluminum with powder coat finish limited edition of 8 signed and numbered on the bottom of the base plate Melanie A Yazzie Additional delivery time may be re...

Grandmother, silver totem abstract sculpture Navajo contemporary,indoor, outdoor limited edition of 8 Base measures 1.5" thick aluminum 36 wide 29 depth tapers to 21 As a printma...

Strength From Within, aluminum, turquoise, Navajo, sculpture, Melanie Yazzie limited edition of 8 powder coated​ aluminum This sculpture is a self-portrait of my state of mind when...

Nancy Genn, American (b. 1929) Marshfield 25 (1977) Handmade paper collage Hand signed verso Dimensions: 20 1/8 x 22 inches Utilizing what is now known as the 'Genn Method,' Nancy Genn created three-dimensional abstract works of handmade paper, gaining international recognition in the 1970s Nancy Genn is an American artist living and working in Berkeley, California known for works in a variety of media, including paintings, bronze sculpture, printmaking, and handmade paper rooted in the Japanese washi paper making tradition. Her work explores geometric abstraction, non-objective form, and calligraphic mark making, and features light, landscape, water, and architecture motifs. She is influenced by her extensive travels, and Asian craft, aesthetics and spiritual traditions. Nancy Genn was born in 1929 in San Francisco, California. She recognized early that she would pursue a career as an artist. Her mother, Ruth Wetmore Thompson Whitehouse, was a painter and UC Berkeley alumna who played a leadership role in the San Francisco Women Artists organization. Genn studied at San Francisco Art Institute (then California School of Fine Arts) with painter Hassel Smith, and at the Art Department at the University of California, Berkeley (1948–49) with Professors Margaret Peterson and John Haley, and fellow students Sam Francis and Sonya Rapoport. In 1949 she married Vernon “Tom” Genn, an engineer raised in Japan, with whom she had three children. Career Genn's first noted solo exhibition was in 1955 at Gump's Gallery in San Francisco. She received international recognition through her inclusion in French art critic Michel Tapié’s seminal text Morphologie Autre (1960), which cited her as one of the most important exponents of post-war informal art. In 1961, Genn began creating bronze sculptures using the lost-wax casting method. Influenced by noted sculptor and family friend Claire Falkenstein, who used open-formed structures in her work, Genn cast forms woven from long grape vine cuttings, and produced vessels, fountains, fire screens, a menorah, a lectern, and, notably, the Cowell Fountain (1966) at UC Santa Cruz. In 1963 her sculptural work was exhibited with Berkeley artists Peter Voulkos and Harold Paris in the influential exhibition Creative Casting curated by Paul J. Smith at the Museum of Contemporary Crafts, New York. Genn was one of the first American artists to express herself through handmade paper, first receiving wide recognition via exhibitions at Susan Caldwell Gallery, New York, beginning in 1977, and in traveling exhibitions with Robert Rauschenberg and Sam Francis. In 1978-1979, supported by the National Endowment for the Arts and Japan Creative Arts Fellowship, she studied papermaking in Japan, visiting local paper craftspeople, working in Shikenjo studio in Saitama Prefecture, and exhibiting her work in Tokyo. She also learned techniques from Donald Farnsworth...

Processing Venice is a unique contemporary modern painting relief by renowned Polish-Dutch artist Eliza Kopec. This painting relief is a typical exampl...

Nine Waces G&B is a unique contemporary modern sculptural paper relief by renowned Polish-Dutch artist Eliza Kopec. This relief is a typical example of her preferred minimalist abstr...

Thomas Edward Nozkowski (American, 1944-2019). Original mixed media abstract composition art utilizing colored rock gravel. Titled, "Gravel Piece." Hand signed on verso, dated 5/73. Provenance: Collection of the Bass Museum of Art, Miami Beach, Florida (Museum Inventory No. t.13.2000.053.) Thomas Nozkowski was an American contemporary painter. He achieved a place of prominence through his small scale paintings and drawings that push the limits of visual language. His work appeared in more than 300 exhibitions over the past 40 years. He had more than 70 solo exhibitions, and 24 of his paintings were featured in a large-scale retrospective in 1987 at Corcoran Gallery of Art in Washington, DC Nozkowski was born in Teaneck, New Jersey and raised in Dumont, where he graduated from Dumont High School in 1961. He spent his youth in the New Jersey suburbs, admiring New York culture from afar before moving there after graduating high school. His father worked in an Alcoa Aluminum factory and then as a postman. His mother worked in factories and as a bookkeeper. One of his aunts was a schoolteacher who gave him and his younger sister art supplies. When he was a senior in high school he won a scholarship to attend a painting class at New York University's School of Education, where he studied with Robert Kaupelis and Hale Woodruff. While he earned his BFA at Cooper Union, Nozkowski was making sculpture. He graduated in 1967. He later transitioned to large scale abstract expressionist painting, and exhibited some of his earliest works in group shows at the storied Betty Parsons Gallery. Richard Tuttle had his first show a year after he began assisting Betty Parsons. Thomas Nozkowski worked for her after graduating from Cooper Union. Between 1949 and 1951. In the course of 36 years, the Betty Parsons Gallery mounted important early shows of Robert Rauschenberg, Kenzo Okada...

Andisheh Avini Iranian-American (b. 1974) Untitled III (2007) Collage of Arabic or Persian Islamic calligraphic script texts. Artist shaped frame Signature stamp and I-20 (New York) gallery label verso Image: 25.25" H x 18.5" W; frame: 27.5" H x 21" W x 1.5" D. Andisheh Avini was born in 1974 in New York. Educated at Hunter College in New York, he has shown consistently in solo and group exhibitions since 2002, including locations in New York, Berlin, Los Angeles, Basel, Madrid and Paris. He currently lives and works in New York. Through his abstract paintings, drawings and sculptures he finds the sweet spot where minimalism, Pop Art, and the political collide. Andisheh Avini is known for his patterned silkscreen painting created on carpet and wood, which are informed by the history and culture of Iran. Avini frequently takes familiar political images and recontextualizes them, prompting the viewer to consider Middle Eastern politics from another perspective. Blending the visual vocabulary of his Iranian heritage with aesthetic and material experimentation, Avini’s work offers a meditation on the experiences and memories that shape our identities. He has used a variety of exotic materials including marquetry or Khatam – a traditional Iranian craft of inlaid wood, crystalline protrusions of actual minerals, peacock feathers, mother-of-pearl and parchment often in abstract geometric compositions, mediums associated with traditional Persian craft— with nods towards Minimalism, Abstract Expressionism, and other Western art movements. He has shown in many prominent galleries including solo exhibitions at Marianne Boesky Gallery (New York), Galerie Frank...

"I welcome the continual emergence of change, evolution, and the inevitable challenges that form a large part of a working artist’s life." With CHEF'S HAT, a recent and evolving work, I am moving into more dimensionality and space. My intention is to push patterned and embellished surfaces on paper from its naturally flat surface into a more structural and spatial plane. This involves making sculptural pieces from paper and experimenting with new construction methods using strips and lengths of paper over-lapped and fastened together, shaped into objects with physical presence. I feel I am migrating from the flat surface into the third dimension. I envision the paper constructions as a landscape to be wandered in and out of, through and around, a space that invites all and sundry to enter on their own terms. I hold firmly to the belief that my work exhibits a playfulness that belies a more serious assessment of our social world. I am interested in how something that is initially perceived as frivolous and celebratory can constitute a reaction against and resistance to the shadowy world of misfortune, hard luck, and weariness. Born in 1959, Lanie Gannon was predominantly inspired by the 1970s. Conceptualism is often perceived as a reaction to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that succeeded were all representative of a strong desire to evolve and strengthen the art world, in response to the tensions of the previous 1960s. Process art branched...