Judith + Rolfe

Brushstroke No. 2

2021

Trihexagonal tiling pattern consisting of equilateral triangles and hexagons. This pattern has long been used in Japanese wickerwork, where it is called Kagome. Kago meaning “basket”...

3/8” high on-edge silver paper on grey cover stock. Frame Dimensions: 335 x 335 x 30 mm / 13.25 x 13.25 x 1.25 in Frame Description: 3/4” wide flat white wood shadowbox with ...

Traditional Japanese patterns, known as Wagara, have specific meanings that date back to historical references. Kikkō consists of hexagonal shapes resembling a tortoise-shell, symbol...

Adelpha eulalia 38.0 x 24.0 x 3.0, 10.0 lbs Photographic paper, foam board Hand signed by artist Artist's Commentary: "This piece was created using photographs of several differ...

Untitled #2/ Tied series 10.0 x 16.0 x 0.5, 1.0 lbs Handmade paper Hand signed by artist Artist's Commentary: "'Tied', the title of the installation series, is a phonetic pun on the rising tides and the paper pages bound by threads.
 As the water rises and falls, pages of our daily experience add and subtract to and from our memory. Our daily life permeates our memory just as the ink is absorbed into each page and create new shapes and patterns onto what once was a clean slate of a blank page." About the Artist: Yoonshin Park is a Chicago based multimedia artist, curator, and educator working with sculptural papers, artist books, and installations. Her interest in the comprehensive process of papermaking and bookbinding caters her work to encompass various elements woven into complete objects. She often uses her experience as a foreign transplant to question space and its implications in defining one's identity as the inspiration behind her work. Park has shown at the Ukrainian Institute of Modern Art, Hyde Park Art Center...

Adelpha eulalia 26.0 x 26.0 x 3.0, 5.0 lbs Photographic paper Hand signed by artist Artist's Commentary: "I transform images of insect wings into meditative, modern photographs ...

charcoal on paper mounted to silk foam core and wood Mark Pomilio’s work focuses on the research of fractals, cloning, and single cell manipulation. His mathematics-based drawings serve as a metaphor for naturally occurring systems of reproduction and growth. When Pomilio begins a piece, he doesn’t know where it will lead; although his tools and marks are precise, the layering, repetition, rotation, and distribution of basic shapes are improvised to emulate a single cell dividing and compounding into a complex form. The process of cell growth influences Pomilio’s practice and is emphasized through his own process, the use of erasure, faint outlines, opacity and translucency, and deliberate marks. The resulting compositions are balanced, unified, and harmonious. His work is included in the collections of the University of Arizona Museum of Art, Baylor University Martin Museum of Art, Dupont Corporation, University of Michigan...

Cube architectural I is the first of two free standing contemporary modern abstract wall sculptures from the Architectural-series by French-Dutch artist Olivier Julia...

Abstract geometric, minimalist wall sculpture in white and grey Precision board, Venetian Plaster, pigments, and beeswax Despite it's stone-like appearance, the sculpture weighs abo...

Minimalist Abstract Geometric standing sculpture in bright red orange with a black steel base "The Gate or Trying to Catch the Rain" by Japanese born arti...

Equilibre architectural I is the second of two free standing contemporary modern abstract wall sculptures from the Architectural-series by French-Dutch artist Olivier Julia. This scu...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...