Lidzie Alvisa Art

G_XII, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/16 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, ...

G_IX, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/6 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, wi...

Artist: James Lee Byars, American (1932- 1997) Title: Description of Torino Exhibit (Castello di Rivoli) Year: 1989 Medium: Marker on Foil Paper Siz...

G_XI, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/6 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, w...

Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...

Original work by Mary Early. Graphite, wax crayon, and sumi ink on Arches paper, 12.25 x 16". "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Landscape with Alpine Skiing and furniture armoire in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. For over forty years, Baxter& has continually produced works that question the role of art as commodity and as a medium for cultural commentary. Among his many innovations, Baxter& was the first artist to adopt a corporate persona: in 1966, he formed the N.E. Thing Company. NETCO output ranged from conceptual, satirical, vacuum-formed still lives to post-modern appropriations of famous artworks. His recent work includes neon signs, ‘animal preserves’, a grocery cart of ‘GMO’s’ (genetically modified organisms) and installations using obsolete technology.) He is a painter, photographer, sculptor, mixed media artist, installationist, film & video maker, interventionist & performance artist who has been a forerunner of conceptual art in Canada. BAXTER& has been considered the Marshall McLuhan of Visual Arts in Canada. Continuous themes in his work include information technology, landscape, art as commodity, & environmental & ecological concerns. These prominent themes throughout BAXTER&‘s work are often met with wit, parody, satire & word-play. Through his art, teaching, and mentorship, BAXTER& has widely influenced Canadian art, creating new movements such as the Vancouver School of Photo-conceptualism and blurring the lines between private and public through his N.E. Thing Co. among many other impactful projects. He has also directly influenced major Canadian artists, including Stan Douglas, Ian Wallace, Jeff Wall, Roy Arden, Ken Lum...

Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment. In "The Buble", Peña takes a more traditional approach to representing a house in the phase of construction with bold and vivid colors and contrasts the image with cut Sintra board slowly pulsating downward from underneath the house. The light blue of the sky contrasts with a deep orange hue for the house. The work is framed with a 1 inch white border. Nick Peña...

'To The Slow Graceful Dance' Original Artwork A breeze in the theatre, a dance begins, costumes rising to the rhythm of the birdsong choir. The pai...

Artist: Shlomo Koren, German (1932 - ) Title: Untitled - Conceptual Moon Phases 8 Year: 1965 Medium: Ink, Watercolor and Collage on Paper mounted to Canvas, signed l.l. Size: 15.5 in...

Berlin (Abstract Painting) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from so...

ColorSoundGrammar Ellen Hackl Fagan There is a long history of sound/color synaesthesia work, from Isaac Newton’s color organ to Alexander Scriabin’s “Prometheus,” but not much wor...