Art by Medium: Charcoal

Begin again (Abstract painting) Mixed media - acrylic and charcoal on raw un-stretched canvas - Unframed. This work will be shipped rolled in a tube. This method is especially safe...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

Lisa Fellerson’s paintings provoke an interplay and tension between line, shape, and color. With no preconceived idea in mind, she begins by dripping, scrapping, and gouging acrylic ...

Abstract Expressionist Street Style Large Acrylic Paint and Charcoal on Canvas. The artwork ships in a tube. Stretching and Framing options are available, contact the gallery for purchase options. BIO Chuck Hipsher...

Flock Quadtych by Nigel Bird [2021] original Pencil on paper Image size: H:124 cm x W:124 cm Complete Size of Unframed Work: H:124 cm x W:124 cm x D:0.1cm Sold Unframed Please note ...

This is mixed media. I am not positive of the materials. it is a translucent, vellum, parchment type of paper. with either charcoal or ink and gold leaf (or gold paint) hand signed in pencil lower right. It is not titled on it. Michele Oka Doner (born 1945, Miami Beach, Florida, United States) is an American artist and author who works in a variety of media including sculpture, lithograph and woodcut prints, drawing, watercolor painting, functional objects and video. Her workes is based on flora, fauna, DNA and all sorts of exotica. She has also worked in costume and set design and has created over 40 public and private permanent art installations, including her best known artwork is "A Walk on the Beach" (1995, 1999), and its extension, "A Walk on the Beach: Tropical Gardens" (1996–2010) at the Miami International Airport. It is composed of over 9000 bronzes embedded in terrazzo with mother-of-pearl. At one and quarter linear miles, it is one of the largest artworks in the world. Born and raised in Miami Beach, Oka Doner is the granddaughter of painter Samuel Heller. Oka Doner's father, Kenneth Oka, was elected judge and mayor of Miami Beach during her youth (1945–1964). The family lived a public and politically active life. In later years, Oka Doner co-authored, with Mitchell Wolfson Jr. Miami Beach: Blueprint of an Eden, an intimate portrayal of Miami Beach from the 1920s to the 1960s using their families as prisms to reflect the times. Reviewed as classic of social history, with material that was part of the public record of its time, it was used as a textbook in Human Geography at George Washington University in 2008. In 1957, age 12, Oka Doner began a year-long independent project studying the International Geophysical Year (IGY). She assembled a book of drawings, writings and collages that became a template for projects realized in later years. In 1963, Oka Doner left Florida for the University of Michigan, Ann Arbor. Her art instructor Milton Cohen was experimenting with The Space Theater and George Manupelli began the Ann Arbor Film Festival. Their students were engaged in poetry, dance, light, music, all combined into a unitary vision, a motif that shaped Oka Doner's student years and is characteristic of her work today. Oka Doner participated in a Manupelli experimental film, a "Map Read" performance with art drawing instructor Al Loving and Judsonite dancer Steve Paxton as well as several "Happenings." Another influence was art historian and Islamic scholar, Oleg Grabar, who illustrated how patterns in architecture are able to dissolve space. A Death Mask, one of her first works, was selected as the cover of Generation, the University's avant garde journal, as campus unrest over the Vietnam war escalated. Her Tattooed Porcelain Dolls were adopted by students protesting the U.S.'s use of napalm... their heads (when they have them) with eyes closed, moth half-open and brain visible, fall into the category of surrealistic objects, but with a surrealism filled with a sap which is naive, barbaric and young." Oka Doner received a Bachelor of Science and Design from the University of Michigan (1966), a M.F.A. (1968), was Alumna-in-Residence (1990), received the Distinguished Alumna Award from the School of Art (1994) and was a Penny Stamps Distinguished Speaker (2008). She was awarded the honorary degree, Doctor of Arts (2016). Upon graduation in 1968, Oka Doner established a studio in downtown Ann Arbor behind the art gallery "Editions, Inc.," where physicist Lloyd Cross and sculptor Jerry Pethick were experimenting with holography. Using a krypton laser, they created the first art holograms. One of Oka Doner's sculptures was appropriated for this experiment. The "Ceramic Doll" opened in the world's first exhibition of holograms at the Cranbrook Academy Art in 1970. Oka Doner moved to Detroit and exhibited at the Gertrude Kasle Gallery in 1971. In 1975, a new body of work, Burial Pieces was laid out on the floor of Gallery 7, then a Cooperative Gallery of black artists, led by Charles McGee. It was the first of many installations that shed pedestals and traditional ways of displaying sculpture. A one-person show at the Detroit Institute of Arts followed in 1977. Works in Progress, also forsook conventional props. Oka Doner installed on the floor of the North Court thousands of pieces of clay depicting images of writing and seeds in the process of germinating. In 1979, the DIA initiated a small group exhibition, "Image and Object in Contemporary Sculpture," including Michele Oka Doner, Scott Burton, Dennis Oppenheim, and Terry Allen, which traveled to P.S. 1, New York. In 1981, Oka Doner moved to New York City and embarked on a series of public art installations. In 1987, she won a national competition sponsored by the MTA's Arts For Transit Program with Radiant Site a 165 ft. long wall for the Herald Square subway station in New York City. The late architect Morris Lapidus said of "Celestial Plaza," "By laying these forms at our feet, she encourages us to stop and search the sparkling expanse for landmarks just as we would search the night sky." In 2009–2010, Oka Doner installed SoulCatchers, approximately 400 shamanistic sculptures in the kiln room at the Nymphenburg Porcelain Manufactury, Munich, Germany.). Solo exhibitions of her work have been held at the Detroit Institute of Arts, Michigan; Germans Van Eck, Diane Brown...

"in City and in Forest 29" explores the assimilation of aerosol painting, pyrography and sanding techniques on wood. The artist engages her work with notions of repetition, graffiti and blur derived from the pictorial works of artists Jack Whitten...

Large Size artwork with Oil, Spray Paint and Charcoal on canvas. Colorful Abstract Expressionist Contemporary. Artwork comes un-stretched in a tube. Stretching and framing options available, Contact gallery for options. BIO Chuck Hipsher...

Refreshed #1 by Christine Evans [2021] original acrylic and graphite on board Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:15 cm x ...

Graphic romantic– Part 1 (Abstract painting) Acrylic, charcoal and pastel on raw canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound se...

Heidi Archer – Noir et rouge is an original oil and acrylic abstract painting with charcoal on canvas board. Inspired by the boats, equipment and ropes in around our local harbour a...

Acrylic Paint and charcoal on board. Framing options are offered upon request. BIO Working across a broad range of mediums and materials, Heidi Lanino’...

Contemporary Large Abstract Expression Spray Paint, Charcoal and Acrylic on Canvas. Artwork ships un-stretched in a tube. Stretching and Framing options available. Contact gallery for purchasing options. BIO Chuck Hipsher...

Antidote Drawing #7 (Abstract Painting) Watercolor, acrylic, charcoal, and ink on paper - Unframed. This artwork is exclusive to IdeelArt. The works of San Francisco Bay Area-based abstract painter Irene Nelson...

Artist's statement: "This is from a series of paintings I have done based on the Old Master technique of beginning with a thin wash and progressively building up the layers of paint...

Stem in Black #1 (Abstract painting) Charcoal & Oil stick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, im...

The title refers to the title of a poem by Vernon Watkins, the welsh metaphysical poet who lived on the Gower Coast. A celebration and dance of colour and space.

"in City and in Forest 29" explores the assimilation of aerosol painting, pyrography and sanding techniques on wood. The artist engages her work with notions of repetition, graffiti and blur derived from the pictorial works of artists Jack Whitten...

Artist Commentary: This minimalist painting is created with charcoal made from sunflower seeds. The sunflower seed charcoal creates organic lines woven through various hues of white ...

Manifest 1 (Abstract Drawing) Charcoal and water on paper. Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such as...

charcoal on paper (41.75 x 36.75 x 1.75 inches) Mark Pomilio’s method, motives, and conceptual considerations are centered on visually articulating recent developments in the life ...

Intermezzo 6 (Abstract drawing) Charcoal on paper - Unframed. Image size: 46.3 x 43.8 cm/ 18 1/4 x 17 1/4 inches. Neill creates works on canvas, linen and paper using a variety of...

Intermezzo 4 (Abstract drawing) Charcoal on paper - Unframed. Image size: 46.3 x 43.8 cm/ 18 1/4 x 17 1/4 inches. Neill creates works on canvas, linen and paper using a variety of...

Antidote Drawing #7 (Abstract Painting) Watercolor, acrylic, charcoal, and ink on paper - Unframed. This artwork is exclusive to IdeelArt. The works of San Francisco Bay Area-base...

Artist’s Statement: “I have decided to make available some work I did back in the 90's that I had put aside because I didn't want to sell it at the time. You can tell that I had been...

The Emotional Body (Abstract painting) Mixed media - acrylic and charcoal on raw un-stretched canvas - Unframed. This work will be shipped rolled in a tube. This method is especial...

Untitled Quarantine #8 (Abstract Painting) Watercolor, acrylic, charcoal, and ink on paper - Unframed. This artwork is exclusive to IdeelArt. The works of San Francisco Bay Area-based abstract painter Irene Nelson...

Nordic waves (Abstract painting) Acrylic, charcoal, oil pastel and graphite on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound sense ...

Lux on the 5th (Abstract painting) Acrylic, charcoal and graphite on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound sense of drama ...

"I chose a very simple form to work with in the "Gridish" paintings– a grid of rectangles. Content never interests me much, and I don’t spend time thinking about it. I’m interested i...

Part of a series, focused on perspective, movement, and the idea of the looking glass. Although it appears monochromatic, it is multi-colored and multi-layered, and changes depending...

Stem in Black #12 (Abstract painting) Charcoal & Oil stick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, i...

Artist Commentary: This piece is created from a photo of one of my sculptures, manipulated on the computer, printed on a laser print then drawn on with graphite and charcoal. Keywords: abstract, bold, plastic Artist Biography: Toby Zallman...

(NOTE: if you enter "Gridish" into the 1stDibs search field you will see others in this series come up) Artist’s Statement: “As I often do, I chose a very simple form to work with h...

Artist Commentary: This piece is created from a photo of one of my sculptures, manipulated on the computer, printed on a laser print then drawn on with graphite and charcoal. Keywords: abstract, bold, plastic Artist Biography: Toby Zallman...

Dallas artist David A. Dreyer’s eighth solo exhibition at Valley House Gallery was presented early in 2021, accompanied by an exhibition catalogue. His recent paintings are inspired ...

Untitled Quarantine #7 (Abstract Painting) Watercolor, acrylic, charcoal, and ink on paper - Unframed. This artwork is exclusive to IdeelArt. The works of San Francisco Bay Area-b...

Steamer series 1 (Abstract Paintings) Charcoal on paper - unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, ...

"Utopian Vision" Painting 61" x 30" inch by Kinda Adly Kinda Adly, born in Egypt in 1989, is a self-taught artist. She grew up in Egypt and currently lives in Switzerland. Her love ...

Monochrome abstraction Part 1 (Abstract painting) Acrylic, charcoal and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound...

Intermezzo 5 (Abstract drawing) Charcoal on paper - Unframed. Image size: 46.3 x 43.8 cm/ 18 1/4 x 17 1/4 inches. Neill creates works on canvas, linen and paper using a variety of...

Artist Commentary: This piece is created from a photo of one of my sculptures, manipulated on the computer, printed on a laser print then drawn on with graphite and charcoal. Keywords: abstract, bold, plastic Artist Biography: Toby Zallman...

Artist Commentary: This piece is created from a photo of one of my sculptures, manipulated on the computer, printed on a laser print then drawn on with graphite and charcoal. Keywords: abstract, bold, plastic Artist Biography: Toby Zallman...

Balance (Abstract painting) Ink, oil pastel and charcoal on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound sense of drama and emoti...

Artist Commentary: This piece is created from a photo of one of my sculptures, manipulated on the computer, printed on a laser print then drawn on with graphite and charcoal. Keywords: abstract, bold, plastic Artist Biography: Toby Zallman...

Artist Commentary: This piece is created from a photo of a piece from the Small Works Group, manipulated on the computer, printed on a laser print then drawn on with graphite and cha...

Work on paper Black plastic frame with glass pane 31,5 x 41 x 2 cm

Artist Commentary: Made with plastic bags, beeswax, Acrylic, oil paint and charcoal Keywords: abstract, colorful Artist Biography: Toby Zallman has alw...

Ingenuity (Abstract painting) Ink, oil pastel and charcoal on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a pro...

Intermezzo 7 (Abstract drawing) Charcoal on paper - Unframed. Image size: 46.3 x 43.8 cm/ 18 1/4 x 17 1/4 inches. Neill creates works on canvas, linen and paper using a variety of...

Artist Commentary: This piece is created from a photo of a piece from the Small Works Group, manipulated on the computer, printed on a laser print then drawn on with graphite and cha...

Artist Commentary: This piece is created from a photo of a piece from the Small Works Group, manipulated on the computer, printed on a laser print then drawn on with graphite and cha...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition f...

Yesterday's Memory, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Gathering Knowledge, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Contemplating Cultural Restoration, 2021. Mixed media: charcoal and acrylic paint on Fabriano Fillipus Sheehama's latest large-scale sculptural textiles have grown out of an exploration of recycled materials and their link to overconsumption. The materials are sourced from under-maintained and largely impoverished areas of Namibia. His artistic process has evolved to incorporate organic waste materials. Indigenous makalani fruits are often used as a food source and to brew alcohol. In these works the discarded makalani piths are cut in half and hand-stitched together alongside flattened metal bottle caps and shards of animal bone. The use of these discarded materials also points to the agricultural processes that sustain subsistence farmers. Sheehama highlights issues of land (re)distribution as years of Apartheid and colonialism carved up and cut off access to much of the arable land in Namibia, leaving the majority of the population scrambling for resources. The patchwork of different materials and textures speaks to the segregation of land and people, and the need to use our natural resources and knowledge to unify for a more just and fair society. Each artwork is both a reflection of society as well as a critique of contemporary living. He is preoccupied with ideas of wholeness, thinking about the relationship between individual and collective identity. The materials he chooses to use en masse- discarded bottle tops, plastics, old school desks...

Belongs to a series of colliding male figures. Feeling like this in the air lately.

Manifest 2 (Abstract Painting) Charcoal and water on paper. Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such a...