Tm Gratkowski Art

This layered paper collage and drawing artwork titled "Mass Study III" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, an...

Colorful abstract contemporary collage sculpture that incorporates pages from 1960 Sears catalogues, cardboard, wood, concrete, acrylic paint, and wood glue. The bright red sculpture...

My 80's Heart "Token 9" 2019, gouache, acrylic, graphite, panel, blue, orange, yellow

A contemporary, abstract painting, "Welcoming the Wellspring" features colorful markings across a layered, creamy white mixed media background. It is an original work painted in 2022 by abstract expressionist artist Kara Greenwell. The contemporary painting features bold turquoise, navy, red, yellow and lime green geometric abstract shapes and gestural markings that sit atop layers of handmade paper and magazine pages obscured by white and cream acrylic paint. Hidden messages in graphite, charcoal and crayon play across the work's surface. Measuring 24 inches by 24 inches, this abstract painting is an ideally sized modern statement piece to adorn any wall. The artist continued the painting extending around the edges of this gallery wrapped canvas, ensuring visual interest from all angles. This contemporary abstract expressionist work is hand signed by the artist on both front and back and is sealed with Archival, UV-resistant varnish. The painting can be hung a nail or picture hook...

My 80's Heart "Token 7" 2019, gouache, acrylic, graphite, panel, blue, wood, orange

My 80's Hart "Token 4" 2019, gouache, acrylic, graphite, panel, yellow, orange

"As an African-American artist in today’s world, I embody the vast differences found in our collective backgrounds. I view them as cultural assets. We are always self discovering and these self discoveries take us in surprising directions. We must gain strength from what we learn from each other as well as listen to that persistent, ever present, intuitive self. The connection of one’s own rich heritage and person growth will travel into the inevitable and critical connection between African Americans and Africa. These connections are rich and very important. They Exist! My work, I hope, will serve as a creative connection between the African diaspora and western culture. It is this connection that cause my creative forces to react." Janice Frame...

Pen and ink on paper, laid down on canvas, mounted to wooden scroll bars Signed and dated lower right: “Drawn by N. B. Rogers August. 1843” Inscribed with an ownership inscription on the verso: Rev. E. D. Daniels, Palmer, Mass. Provenance: Rev. Eugene Davidson Daniels, Palmer, Massachusetts, 1871 This extraordinary manuscript map is a rare survivor of the devotional and educational culture of New England in the first half of the nineteenth century. Although at first glance resembling a large-scale engraving or printed publication, this precisely rendered wall map was entirely drawn by hand, the product of meticulous research by a minister working in isolation in rural Maine. The map shows New Testament era cities, towns, tribal areas, and political borders as well as physical features such as rivers, lakes, mountains, and hills (indicated by half-tone cross-hatching). On to this geographically accurate rendering of the Holy Land, Rogers has located and inscribed significant locales mentioned in the Gospels and has annotated these places with relevant citations from the Bible. He further records these by plotting the travels of Jesus on what resemble a series of trails across the Holy Land. Each is distinguished by a different pattern of dots and dashes – correlated to an explanatory table at the lower right. From this we know that these lines document the “Flight into Egypt and return,” “Travels of Christ from Nazareth to Jerusalem and return,” “Travels from the commencement of his Ministry to the first Passover,” “Travels from the first and the second Passover,” “Travels from Jerusalem to Galilee after the 2nd Passover,” and “Travels from the third Passover to the Crucifixion.” An inset map of “Jerusalem...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Original 30in x 20in drawing on paper mounted to wood panel by Austin-based Texas artist Sophie Roach. Sophie Roach is a self-taught artist and illustrator based in Austin, TX. She discovered her passion for compulsive drawing when she was supposed to be paying attention to lectures at the University of Washington. By using familiar shapes, patterns and her own intuition, Roach has created a unique visual language based on spontaneity and rhythm. Her abstract style is playful yet austere, extremely detailed and often vibrantly colored. Her client list includes, among others, Nike, Converse, Complex, Fiat, IBM, Kit & Ace, Austin City Limits...

Lara Schnitger (b.1969). Pink Gin, 1999. Collage of cut vintage papers on illustration board, measures 10 x 14.25 inches. Measures 17.5 x 21.5 inches framed. Provenance: Anton Kern Gallery. Search terms: woman artist; Feminist artist: Feminist Lara Schnitger 1969 Born in Haarlem, Netherlands 1987-1991 Koninklijke Academie voor beeldende Kunsten, Den Haag 1991-1992 Academie Vyvarni Umeni, Prague 1992-1994 Ateliers ´63, Amsterdam 1999-2000 C.C.A., Kitakyushu, Japan Lives and works in Los Angeles and Amsterdam Solo Exhibitions 2018 Suffragette City, Frieze Live, Frieze Art Fair, Randall's Island, NY 2017 Don't Let The Boys Win, Galerie Gebr. Lehmann, Dresden, Germany Suffragette City, Kunsthaus Dresden, Germany Lundgren Gallery, Mallorca, Spain 2016 In Real Life: Lara Schnitger, Hammer Museum, Los Angeles, CA 2015 Suffragette City, FRAC Champagne-Ardenne, Rheims, France Suffragette City, Parcours, Art Basel, Lichthof Building, Basel, Switzerland 2014 PINK POP Festival, Bonnefantenmuseum Pavilion, Maastricht, Netherlands Stuart Shave/Modern Art, London, UK Never Alone, Anton Kern Gallery, New York, NY 2012 Lara Schnitger, Wilhelm Müller: Colored Fabrics, Galerie Gebr. Lehmann, Dresden, Germany Lara Schnitger & My Barbarian: The Butterfly’s Evil Spell, Anton Kern Gallery, New York, NY 2010 Damned Women, Modern Art, London, UK Two Masters and Her Vile Perfume, Sculpture Center, New York The Artist's Museum, Museum of Contemporary Art, Los Angeles 2009 Anton Kern Gallery, New York Dance Witches Dance (with My Barbarian), Luckman Fine Arts Complex, Cal State, Los Angeles 2008 Museum of Modern Art Arnhem, Holland, Netherlands Dance Witches Dance (with My Barbarian), Museum Het Domein, Sittard [cat.] Double Happiness, Galerie Gebr. Lehmann, Berlin 2007 Stuart Shave/Modern Art, London Anton Kern Gallery, New York 2005 My Other Car is a Broom, Magasin 3, Stockholm, Sweden traveling to Stroom den Haag, The Hague, The Netherlands [cat.] Anton Kern Gallery, New York [cat.] Blacks on Blondes, Triple Candie, New York 2004 Air 2 Paris, Paris 2003 Liesje Leerde Lotje lopen langs de lange Lindenlaan, Revalidatie Centum Friesland, Beesterswaag, Netherlands 2002 Civilized Special Zone, Lara Schnitger and Matthew Monahan, Chinese European Art Center, Xiamen Anton Kern Gallery, New York, NY 2001 Statements, Basel Art Fair, Basel Raum Aktuellekunst, Martin Janda Gallery, Vienna Project Room, Santa Monica Museum of Art, Santa Monica, CA 2000 Kunstwerke, Berlin Gozaimas, Lara Schnitger and Matthew Monahan, Bureau Amsterdam, Amsterdam 1999 Anton Kern Gallery, New York, NY Up & Co, New York, NY 1998 Hyper Space, Galerie Daniel Blau, Munich Basel Art Fair, Galerie Daniel Blau SpaceInvader, Vleeshal, Middelburg, Netherlands 1997 University of Buffalo Art Gallery, Buffalo, NY 1996 Anton Kern Gallery, New York, NY Group Exhibitions 2018 Other Walks, Other Lines, San Jose Museum of Art, San Jose, CA (opening November) Pussy, King of the Pirates, Maccarone, Los Angeles, CA “Do I contradict myself? Very well then I contradict myself. (I am large, I contain multitudes.), curated by Emmanuelle Lainé, FRAC Champagne-Ardenne, Reims, France bitch MATERial, Kunstquartier Bethanien, Berlin, Germany Reclaimed, Linda Pace Foundation, San Antonio, TX 2017 3. Berliner Herbstsalon, Maxim Gorki Theatre, Berlin, Germany Brightsiders, curated by Adam D. Miller, Verge Center for the Arts, Sacramento, CA Hope and Hazard: A Comedy of Eros, curated by Eric Fischl Hall Art Collection, Reading, VT Do Disturb, Palais de Tokyo, Paris, France 2016 Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016, Hauser, Wirth & Schimmel, Los Angeles, CA [cat.] Reveal the Rats, The Pit, Los Angeles, CA 2015 NO MAN’S LAND: Women Artists from The Rubell Family Collection, Rubell Family Collection, Miami, FL Poor Art - Rich Legacy. Arte Povera and Parallel Practices 1968-2015, Museum of Contemporary Art, Oslo, Norway Beating around the bush Episode #4, Bonnefanten Museum, Maastricht, The Netherlands 2014 Beating around the bush Episode #2, Bonnefanten Museum, Maastricht, The Netherlands 2013 Girls Just Want to Have Funds, La Mama Gallery, New York, NY Paintings, Sculptures, Drawings and Mixed Media Artworks, The Rema Hort Mann Foundation, New York, NY 2012 My Barbarians Collaboration / Performance, Anton Kern Gallery, New York, NY More to Tell, Museum Het Domein, Sittard, Netherlands Chasm of the Supernova, Center for the Arts Eagle Rock, Los Angeles, CA Niki de Saint Phalle Tirs: Reloaded, Getty’s Pacific Standard Time Performance and Public Art Festival Without Hope, Without Fear, Mottahedan Projects, Al Quoz, Dubai, UAE The Butterflies Evil Spell, Anton Kern Gallery, New York, NY 2011 The Artist's Museum, Museum of Contemporary Art, Los Angeles Investigation of a Dog: Works from the FACE collections, Magasin 3 Konsthall, Stockholm, Sweden; La Maison Rouge, Paris, France 2010 Ordinary Madness, Carnegie Museum of Art, Pittsburgh, PA Investigation of a Dog: Works from the FACE collections, Ellipse Foundation, Cascais, Portugal; Deste Foundation, Athens, Greece; Fondazione Sandretto Re Rebaudengo, Turin, Italy 2009 Group Exhibition, Honor Fraser, Los Angeles Strike a Pose, Stephen Friedman Gallery, London Directions, A Palazzo Gallery, Brescia, Italy Double Dutch, Hudson Valley Center for Contemporary Art, Peekskill Investigations of a Dog, Fondazione Sandretto Re Rebaudengo, Turin (re)Visions:(di)Visions, Foster Gallery, University of Wisconsin, Eau Claire 2008 Sonsbeek Sculpture Exhibition, Arnhem Attribution problems, Johann König, Berlin Carried away, Museum Moderne Kunst, Arnhem, NL 2007 Read Me! Text In Art, Armory Art, Pasadena Unmonumental: The Object in the 21st century, New Museum, New York Wild West, Galerie Gebr. Lehmann, Berlin USA Today, Hermitage, St. Petersburg, Russia To Be Continued…, Magasin 3 Stockolm Konsthall, Stockholm, Sweden Frac des pays de la loire, Carquefou, France Don’t Let the Boys Win, Mills College Art Museum, Oakland Fantastic Politics, The National Museum of Contemporary Art, Oslo, Norway Eight Sculptors from Los Angeles, Sabine Knust, Munich Uneasy Angel/Imagine Los Angeles, Sprueth Magers, Munich 2006 Lara Schnitger, Lily Van Der Stoker, Sue Williams, Modern Art Inc., London Ridykeulous, Participant Inc., New York, NY La Retour de la Colonne Durutti, Gallery Isabella Bortolozzi, Berlin USA Today, The Saatchi Gallery, London Implosion, Anton Kern Gallery, New York The “F” word, Andy Warhol Museum, Pittsburgh, USA Red Eye: L.A. Artists from the Rubell Family Collection, Miami, FL 2005 THING New Sculpture from Los Angeles, Hammer Museum, Los Angeles, CA Both Ends Burning, David Kordansky Gallery, Los Angeles [cat.] Follow Me: A Fantasy, curated by Malik Gaines, Arena 1 Gallery, Santa Monica, CA Forms after David, Accademia di Belle Arti, Florence, Italy My Barbarian, Powerplant, Toronto, Canada 2004 Obsession, Galerie Diana Stigter, Amsterdam, NL M.B. The Mary Blair...