Elizabeth Emery Art

Judy Chicago Logo Pin and Pendant, 1993 Enameled pin with pendant loop in original presentation box 2 1/2 × 2 1/2 × 1/5 inches Judy Chicago's incised name and date on the verso Comes in original presentation gift box Poignant enameled Holocaust Project Logo pin & pendant based on the logo designed by Judy Chicago for the Holocaust Project: From Darkness into Light More about pioneering artist Judy Chicago Judy Chicago (born Judith Sylvia Cohen; July 20, 1939) is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. During the 1970s, Chicago founded the first feminist art program in the United States at California State University, Fresno (formerly Fresno State College) which acted as a catalyst for feminist art and art education during the 1970s. Her inclusion in hundreds of publications in various areas of the world showcases her influence in the worldwide art community. Additionally, many of her books have been published in other countries, making her work more accessible to international readers. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. The Dinner Party celebrates the accomplishments of women throughout history and is widely regarded as the first epic feminist artwork. Other notable art projects by Chicago include International Honor Quilt, Birth Project, Powerplay, and The Holocaust Project. She is represented by Jessica Silverman...

"Loose Strokes on Sky Blue" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes th...

John Rozelle (American, 1944-) Grant Series II #5, Collage, 1988 Hand signed, dated and titled in pencil Provenance: Isobel Neal Gallery, Chicago, Measurements Matted to approximately 20 by 16 Sight: 11 by 9 inches Layers of torn ripped, and painted paper with music notes are overlaid on top of each other in this contemporary collage assemblage composition with a jazz sensibility. The pieces of paper have been arbitrarily arranged while in contrast, the artist has applied color in this piece in a very thoughtful way. John Everette Rozelle is an internationally renowned artist from St. Louis, Missouri now living in Banyoles, Girona. He is a masterful collagist, painter and sculptor included in museums and private collections worldwide. John Rozelle was born in St. Louis, Missouri and holds a B.F.A with a major in painting and a minor in sculpture from Washington University and a M.F.A from Fontbonne College. John Rozelle is currently tenured Associate Professor in the Drawing and Painting Department at The School of the Art Institute of Chicago. Prior to joining the Art Institute faculty he taught drawing, design, painting, and sculpture as an Adjunct Assistant Professor at Fontbonne College. Rozelle has served on numerous occasions as curator, juror, and artist-in-residence for several exhibitions. His twenty years of solo and group shows have included those in New York, Philadelphia, Chicago, St. Louis, Atlanta, and Los Angeles. His work is housed among various corporate collections some of which include: Anheuser Busch, Citibank Corp., AT&T, Borg-Warner, Price Waterhouse, Saks Fifth Avenue, the Seven-Up Company, Ralston Purina, the Westin Hotels and ARCO. Rozelle is currently tenured Associate Professor in the Drawing and Painting Department at The School of the Art Institute of Chicago. His art can be found in over 20 public collections and in over 50 private collections throughout the United States. He has been in many important exhibitions including Pennsylvania Academy of Fine Arts. Layers of Meaning: Collage and Abstraction in the Late 20th Century. Included: Romare Bearden, Moe Brooker...

"Refreshing Gelato Grid" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes that is both classy and fresh. The use of vivid colors on a white background reminds the beautiful vintage beach cabins...

This is an exclusive handmade mixed media cyanotype with hand-painted acrylic paint in pastel tones. Details: Title: Lilac Leaf on Water Medium: Mixed Media on Watercolor Paper Size: 100x70 cm Year: 2020 *Frame is for illustrative purposes only, artwork is shipped carefully rolled in a tube. WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins...

Frank Stella Plutusia, from Imaginary Places II (Axsom & Schnitzer, 246), 1996 52 color lithograph, screenprint, etching, aquatint, relief, mezzotint, engraving on white TGL handmade...

Louise Nevelson Bicentennial Dawn, 1976 Photolithograph, silkscreen and gold foil on white wove paper hand signed, dated and numbered 15/100 with incised signature on the front 35 × ...

American Artist 1922 – 2012 Served his country as a Sergeant in World War II, both stateside and in the Philippines. After the war, native Chicagoan Ronald Ahlström graduated from the School of the Art Institute, He became a prominent Abstract Expressionist collage assemblage maker working in a style similar to some of the New York school assemblage artists such as Robert Goodnough. Utilizing cutout letters in a concrete poetry style. He frequently exhibited his collages and paintings in the Chicago and Vicinity exhibits of the 1950s and 1960s. He worked as the curator of the Tacoma Art Museum in Tacoma WA during the early 1960s. He showed at Exhibition Momentum in the ’60s, and was selected for the Corcoran Biennial. Together with his colleagues and fellow-abstractionists Robert Nickle, Morris Barazani, Harry Bouras, George Kokines, and George Waite, he exhibited at McCormick Place in an independently produced survey of contemporary Chicagoans, circa 1962, under the banner 12 Chicago Artists. An adept and sensitive painter, Ahlström’s most personal work is as an abstract expressionist collage maker. Using strips of paper, sometimes weathered and beaten into rough hewn surfaces, he creates immaculately layered, lively, gestural compositions. He was the recipient of many art awards and prizes throughout his long career. His works are part of numerous private, corporate and museum collections. His work was published in many national and international art publications including Who's Who in America and Who's Who in American Art. he taught art at both high school and college level. His other passions included history, literature and music. He was an accomplished base fiddle and guitar player and often played professionally in clubs during the late 1940s and 1950s. In 1958, he was awarded the William H. Bartels Prize of five hundred dollars at the Art Institute of Chicago. Education: Art Institute of Chicago University of Chicago DePaul University Exhibitions: Art Institute of Chicago Annuals, Corcoran Biennial in Washington DC, 12 Chicago Artists 50 Chicago Artists European Exhibit at the US Information Agency Collage and Construction, Hyde Park Art Center, Chicago Tacoma Art Museum, Washington Henry Gallery, University of Washington, Seattle 50th Northwestern Annual, Seattle Art Museum, Chicago Invitational, University of Illinois One Man Exhibits: Rockford College, Rockford Il. Barat College, Lake Forest Il. Rodger Wilson Gallery, Chicago, Il. Touchstone Gallery, New York, NY. Joseph Faulkner, Main Street Galleries, Chicago, Il. Zriny Galleries, Chicago Il. Awards: Clyde Carr Prize, Art Institute of Chicago William H. Bartels Prize, Art Institute of Chicago James Broadus Clark Prize, Art Institute of Chicago Alumni of Art Institute Prize Singer and Sons Prize, Navy Pier, Chicago Abel Fagan Prize, Festival of Fine Arts, Lake Forest, Il. Ford Foundation Purchase Prize, Seattle, Wa. Collections: Art Institute of Chicago Barat College Tacoma Art Museum, Wa. Phibrook Art Center, Tulsa, Ok. Blue-Cross Collection, Chicago, Il. Atlantic Richfield Collection Illinois Bell Telephone Collection Container Corporation of...

A collage by Conrad Marca-Relli from 1968. An iconic piece of 1960's minimalist multi-media art. Artist: Conrad Marca-Relli, American (1913 - 2000) Title: Ibiza Year: 1968 Medium:...

Artist: Nancy Genn, American (1929 - ) Title: Mandu #10 Year: 1994-95 Medium: Mixed Media on paper, signed l.r. Size: 32 in. x 29 in. (81.28 cm x 73.66 cm) Frame: 37 x 34.5 inches (9...

Watercolor and ink on paper of an abstract composition of brown, orange and blue shapes between black parallel lines throughout the the piece by Herbert Bayer (1900-1985). Presented in a custom black frame with all archival materials. Framed dimensions measure 17 ⅞ x 22 ⅝ x 1 inches. Image size is 10 ¼ x 15 ½ inches. Painting is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Herbert Bayer enjoyed a versatile sixty-year career spanning Europe and America that included abstract and surrealist painting, sculpture, environmental art, industrial design, architecture, murals, graphic design, lithography, photography and tapestry. He was one of the few “total artists” of the twentieth century, producing works that “expressed the needs of an industrial age as well as mirroring the advanced tendencies of the avant-garde.” One of four children of a tax revenue officer growing up in a village in the Austrian Salzkammergut Lake region, Bayer developed a love of nature and a life-long attachment to the mountains. A devotee of the Vienna Secession and the Vienna Workshops (Wiener Werkstätte) whose style influenced Bauhaus craftsmen in the 1920s, his dream of studying at the Academy of Art in Vienna was dashed at age seventeen by his father’s premature death. In 1919 Bayer began an apprenticeship with architect and designer, Georg Schmidthamer, where he produced his first typographic works. Later that same year he moved to Darmstadt, Germany, to work at the Mathildenhöhe Artists’ Colony with architect Emanuel Josef Margold of the Viennese School. As his working apprentice, Bayer first learned about the design of packages – something entirely new at the time – as well as the design of interiors and graphics of a decorative expressionist style, all of which later figured in his professional career. While at Darmstadt, he came across Wassily Kandinsky’s book, Concerning the Spiritual in Art, and learned of the new art school, the Weimar Bauhaus, in which he enrolled in 1921. He initially attended Johannes Itten’s preliminary course, followed by Wassily Kandinsky’s workshop on mural painting. Bayer later recalled, “The early years at the Bauhaus in Weimar became the formative experience of my subsequent work.” Following graduation in 1925, he was appointed head of the newly-created workshop for print and advertising at the Dessau Bauhaus that also produced the school’s own print works. During this time he designed the “Universal” typeface emphasizing legibility by removing the ornaments from letterforms (serifs). Three years later he left the Bauhaus to focus more on his own artwork, moving to Berlin where he worked as a graphic designer in advertising and as an artistic director of the Dorland Studio advertising agency. (Forty years later he designed a vast traveling exhibition, catalog and poster -- 50 Jahre Bauhaus -- shown in Germany, South America, Japan, Canada and the United States.) In pre-World War II Berlin he also pursued the design of exhibitions, painting, photography and photomontage, and was art director of Vogue magazine in Paris. On account of his previous association with the Bauhaus, the German Nazis removed his paintings from German museums and included him among the artists in a large exhibition entitled Degenerate Art (Entartete Kunst) that toured German and Austrian museums in 1937. His inclusion in that exhibition and the worsening political conditions in Nazi Germany prompted him to travel to New York that year with Marcel Breuer, meeting with former Bauhaus colleagues, Walter Gropius and László Moholy-Nagy to explore the possibilities of employment after immigration to the United States. In 1938 Bayer permanently relocated to the United States, settling in New York where he had a long and distinguished career in practically every aspect of the graphic arts, working for drug companies, magazines, department stores, and industrial corporations. In 1938 he arranged the exhibition, “Bauhaus 1919-1928” at the Museum of Modern Art, followed later by “Road to Victory” (1942, directed by Edward Steichen), “Airways to Peace” (1943) and “Art in Progress” (1944). Bayer’s designs for “Modern Art in Advertising” (1945), an exhibition of the Container Corporation of America (CAA) at the Art Institute of Chicago, earned him the support and friendship of Walter Paepcke, the corporation’s president and chairman of the board. Paepcke, whose embrace of modern currents and design changed the look of American advertising and industry, hired him to move to Aspen, Colorado, in 1946 as a design consultant transforming the moribund mountain town into a ski resort and a cultural center. Over the next twenty-eight years he became an influential catalyst in the community as a painter, graphic designer, architect and landscape designer, also serving as a design consultant for the Aspen Cultural Center. In the summer of 1949 Bayer promoted through poster design and other design work Paepcke’s Goethe Bicentennial Convocation attended by 2,000 visitors to Aspen and highlighted by the participation of Albert Schweitzer, Arthur Rubenstein, Jose Ortega y Gasset and Thornton Wilder. The celebration, held in a tent designed by Finnish architect Eero Saarinen, led to the establishment that same year of the world-famous Aspen Music Festival and School regarded as one of the top classical music venues in the United States, and the Aspen Institute for Humanistic Studies in (now the Aspen Institute), promoting in Paepcke’s words “the cross fertilization of men’s minds.” In 1946 Bayer completed his first architecture design project in Aspen, the Sundeck Ski Restaurant, at an elevation of 11,300 feet on Ajax Mountain. Three years later he built his first studio on Red Mountain, followed by a home which he sold in 1953 to Robert O. Anderson, founder of the Atlantic Richfield Company who became very active in the Aspen Institute. Bayer later designed Anderson’s terrace home in Aspen (1962) and a private chapel for the Anderson family in Valley Hondo, New Mexico (1963). Transplanting German Bauhaus design to the Colorado Rockies, Bayer created along with associate architect, Fredric Benedict, a series of buildings for the modern Aspen Institute complex: Koch Seminar Building (1952), Aspen Meadows guest chalets and Center Building (both 1954), Health Center and Aspen Meadows Restaurant (Copper Kettle, both 1955). For the grounds of the Aspen Institute in 1955 Bayer executed the Marble Garden and conceived the Grass Mound, the first recorded “earthwork” environment In 1973-74 he completed Anderson Park for the Institute, a continuation of his fascination with environmental earth art. In 1961 he designed the Walter Paepcke Auditorium and Memorial Building, completing three years later his most ambitious and original design project – the Musical Festival Tent for the Music Associates of Aspen. (In 2000 the tent was replaced with a design by Harry Teague.) One of Bayer’s ambitious plans from the 1950s, unrealized due to Paepcke’s death in 1960, was an architectural village on the outskirts of the Aspen Institute, featuring seventeen of the world’s most notable architects – Walter Gropius, Marcel Breuer, I.M. Pei, Minoru Yamasaki, Edward Durrell Stone and Phillip Johnson – who accepted his offer to design and build houses. Concurrent with Bayer’s design and consultant work while based in Aspen for almost thirty years, he continued painting, printmaking, and mural work. Shortly after relocating to Colorado, he further developed his “Mountains and Convolutions” series begun in Vermont in 1944, exploring nature’s fury and repose. Seeing mountains as “simplified forms reduced to sculptural surface in motion,” he executed in 1948 a series of seven two-color lithographs (edition of 90) for the Colorado Springs Fine Arts Center. Colorado’s multi-planal typography similarly inspired Verdure, a large mural commissioned by Walter Gropius for the Harkness Commons Building at Harvard University (1950), and a large exterior sgraffito mural for the Koch Seminar Building at the Aspen Institute (1953). Having exhausted by that time the subject matter of “Mountains and Convulsions,” Bayer returned to geometric abstractions which he pursued over the next three decades. In 1954 he started the “Linear Structure” series containing a richly-colored balance format with bands of sticks of continuously modulated colors. That same year he did a small group of paintings, “Forces of Time,” expressionist abstractions exploring the temporal dimension of nature’s seasonal molting. He also debuted a “Moon and Structure” series in which constructed, architectural form served as the underpinning for the elaboration of color variations and transformations. Geometric abstraction likewise appeared his free-standing metal sculpture, Kaleidoscreen (1957), a large experimental project for ALCOA (Aluminum Corporation of America) installed as an outdoor space divider on the Aspen Meadows in the Aspen Institute complex. Composed of seven prefabricated, multi-colored and textured panels, they could be turned ninety degrees to intersect and form a continuous plane in which the panels recomposed like pieces of a jigsaw puzzle. He similarly used prefabricated elements for Articulated Wall, a very tall free-standing sculpture commissioned for the Olympic Games in Mexico...

Holbrook creates an abstract cityscape of Jerusalem by overlaying geometric shapes with vivid colors that take the form of buildings, on top of a collaged background of Hebrew text.