Guillermo Garcia Cruz Art

Maurizio Cattelan L.O.V. E. 2015 Concrete 40 × 18 × 18 cm (15.7 × 7.1 × 7.1 in) Stamped by artist's estate Edition of 1800 In mint condition, in the original wooden crate and accompanied by a certificate of authenticity The statue, which bears the title of L.O.V.E., stands for Libertà, Odio, Vendetta, Eternità (Freedom, Hate, Vengeance, Eternity),was created in 2010 to stay in Piazza Affari (business district) in Milan. The artist himself states that the statue is an anti-fascist statement, transforming Italy’s Fascist...

Concrete Head Unique Figurative Abstract Geometric Figure Grey Contemporary In Stock Concrete head is a figurative, abstract, geometric, figure, grey po...

Jennifer Hornyak was born in England, where she studied at the Grimsby School of Art before coming to Canada. For more than forty years, her work has been exhibited in prestigious ga...

Simon Casson’s paintings are singular statements of pure uniqueness. Their contemporary abstraction inflicts its imprint upon the often capriccio paintings, through predatory slabs o...

A large figurative abstract, acrylic and oil on canvas over panel painting execute in purples, blacks, reds, oranges and greens by Annie Lapin. Signed verso, "Annie Lapin".

Simon Casson’s paintings are singular statements of pure uniqueness. Their contemporary abstraction inflicts its imprint upon the often capriccio paintings, through predatory slabs o...

A sculpture by Theaster Gates. "Stand-Ins for Period of Wreckage 25" is a contemporary sculpture, white concrete and porcelain by American, Blue Chip artist Theaster Gates. The artwork is unsigned. Theaster Gates' practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be. For his exhibition at Milwaukee Art Museum exhibition in 2010, for example, Gates invited a 250 strong gospel choir into the galleries to sing songs adapted from the inscriptions on pots by the famous 19th century slave and potter 'Dave Drake'. For the 2010 Whitney Biennial, Gates transformed the Whitney’s Sculpture Court with a spare, architectural installation that functioned as a communal gathering space for performances, social engagement, and contemplation. For the duration of the exhibition Gates collaborated with various creative practitioners on a series of 'monastic residencies', holding live events such as the session by Gates' musical ensemble, the Black Monks of Mississippi. In another recent exhibition at Seattle Art Museum, Gates transformed the gallery into an audio archive entitled 'The Listening Room', incorporating a hand-built DJ...

Simon Casson’s paintings are singular statements of pure uniqueness. Their contemporary abstraction inflicts its imprint upon the often capriccio paintings, through predatory slabs o...

Jennifer Hornyak was born in England, where she studied at the Grimsby School of Art before coming to Canada. For more than forty years, her work has been exhibited in prestigious ga...

Dusk is a painting in oil and gold leaf on canvas by British artist Charlotte Aiken. Aiken is a Surrey-based artist, who responds to her surroundings t...

Darius Yektai's "White Tulips" is a large-scale, layered, oil on resin, on canvas painting. White Tulips is archetypal in all but scale. Yektai’s stateme...

Simon Casson’s paintings are singular statements of pure uniqueness. Their contemporary abstraction inflicts its imprint upon the often capriccio paintings, through predatory slabs o...