Hannes Forster

Geometric Composition (Minimalism, Constructivism)

1991

Russell Shoemaker Title: Untitled Year: 2018 Medium: Gouache on Yupo Paper Size: 12 x 9 inches Signed, dated and inscribed by the artist Russell Shoemaker received his BFA from the ...

Artist : Kory Twaddle Title : Biogram of the Kansas City Zoo Materials : Pastel, oil pastel, acrylic, watercolor, gouache, tempera, glitter glue, foam stickers, paper, marker, color...

Artist : Kory Twaddle Title : What was Left Materials : Watercolor on paper Date : 2015 Dimensions : 10 x 12 x .1 Description : I hate to waste anything and want to utilize every scr...

Artist : Kory Twaddle Title : Blue Springs Semi Upper Level Materials : Colored pencil, marker, tempera, gouache, stickers, tape, glitter glue, pastel, oil pastel, acrylic, graphite...

Title : Kris and Kory's Studio Organ Building Materials : Colored pencil, acrylic, graphite, and watercolor on paper diptych Date : 2005 Dimensions : 36 x 48 x .1 in. Description : ...

Artist : Jolynn Reigeluth Title : Madonna and Child Materials : India ink, graphite, collage and acrylic Date : 2017 Dimensions : 55" x 39" in. Jolynn Reigeluth is an artist and fre...

Richard Anuszkiewicz Near and Far Acuity, 1957 Gouache and watercolor painting Hand signed and dated 1957 by Richard Anuszkiewicz on the right front Frame included Anuszkiewicz' artworks from the late 1950s are rarely found on the market. This historic painting is one of the works that helped launch the artist's career. It was done in 1957 - the year the artist arrived in New York. Near and Far Acuity has been removed from its original frame, and re-framed in an elegant wood frame with conservation materials and UV plexiglass. The original gallery label from The Contemporaries has been preserved and affixed to the new backing, and the collector who acquires this work will also be provided with a copy of the original receipt - signed by Karl Lunde (director of the Contemporaries and author of a major monograph on the artist). Measurements: Frame: 32 x 28 x 2 inches Artwork: 21 x 25 inches This work was first exhibited in the groundbreaking, and career-making 1960 exhibition at The Contemporaries gallery (New York, February 29, 1960 - March 19, 1960) and was featured in the exhibition catalogue, shown in the images here. In his essay entitled "Richard Anuszkiewicz: Color Precisionist" by art historian John T. Spike, he writes, "In the spring of '57, Richard Anuszkiewicz left Ohio for good. "I was ready. I came to New York with a substantial amount of work. I was ready to go around to the galleries and I was prepared because I really had something. I had an idea. I had a series of paintings that showed this idea and I felt good about it and I felt now that's the only place for me to be." A friend helped him get a job touching up the plaster models of classical temples and statues in the Junior Museum of the Metropolitan Museum of Art. He took off six months the next year to travel around Europe in a Volkswagen, also seeing some places in North Africa. "When I came back, I remember taking my work around to the galleries and receiving interesting comments — positive comments from the various people. But Abstract Expressionism was very popular. My things were very hard-edged, very strong in color — a use of color that nobody was using. Everybody would say. 'Oh, they are nice, but so hard to look at. They hurt my eyes". Leo Castelli considered him seriously but the gallery was developing a specialization in pop artists like Jasper Johns and Robert Rauschenberg. "I can remember going to Martha Jackson and having her look at the work and she would put her hands straight out in front of her and block out parts of the painting with her hand and she'd say, mmm no rest areas." He finally caught on with The Contemporaries Gallery in the fall of 1959. The gallery at 992 Madison Avenue mainly represented new European talent. Karl Lunde, the gallery director, saw some of his canvases hanging...

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...

Serbian artist Dordevic (or Djordjevic) Miodrag (1936 -), known as "Miodrag," designed this stunning abstract drawing. This work is a charcoal on paper depicting a brutalist abstract...

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...

Abstract mixed medium painting on paper. - Original one of a kind artwork - Artist Signature on back - Certificate of Authenticity provided Beautiful abstract organic shapes are mon...

Entitled “Garage,” this work by Chicago artist Patrick Fitzgerald is one of a series of “track paintings” that materialize the imagined tracks navigated by his miniature soap-box car...