Art by Medium: Cotton

Historia, Memoria y Silencios (Silencios) Unopened IV, 2009 Archival Ink on Cotton Paper 16h x 16w in Edition of 5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Acrylic, Aerosol and Crushed Abalone on Cotton British Flag The Rolling Stones, The Rolling Stones Tongue, Monarch Butterfly, Los Angeles Graffi...

Miguel Milló builds complex compositions in which painting, sculpture, and the play of light and shadow combine to create subtle and poetic atmospheres. I...

Nicolás Guzmán shows us a selection of pieces taken from his new pictorial research, in which traditional techniques are mixed with industrial materials...

Publicon Station IV (1978) is a limited-edition mixed media light sculpture that exemplifies the fusion of industrial materials with hand-crafted elements. Created in an edition of 3...

Collection: Silent Space Acrylic on canvas Md Tokon's style has reflected the art of American Abstract Expressionists. Md Tokon spent his early years in Jhenidah and Dhaka. The phys...

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Untitled (Collage I), 2013 Black slip, porcelain, grog, oil pastel, graphite, cotton gauze and cotton thread on paper

The complete title of the work is "HOMAGE TO FRIDA KAHLO (RED FRIDA) "Exhilaration-is-within-There can be not Outer Wine So Royally intoxicate" E. Dickinson. Lesley Dill is an Amer...

Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all ...

ELIZABETH WAGGETT Charging Bull, 2017 Signed by artist 22 karat gold, charcoal, graphite, and ink on cotton 45 x 30 inches, framed This piece is unique. This piece is currently on d...

Elizabeth Waggett Replacing Parts With Pretty Things, 2019 Signed by artist 24 karat gold, rose gold, champagne gold, platinum, ink, graphite on cotton paper 26 x 26 inches, framed T...

Elizabeth Waggett It's A Worry For Some, 2018 Signed and numbered by artist 24k gold, charcoal, graphite, and ink on cotton paper 45 x 45 inches, framed This piece is unique. This p...

Elizabeth Waggett Magnificence Comes as Standard II, 2017 Signed by artist Charcoal, graphite, oil, 22 & 24 karat gold, and rose gold on cotton paper 40 x 28 inches, framed This piec...

ELIZABETH WAGGETT The Protector, 2023 Signed by artist Graphite charcoal, 22k gold, and oxidised silver leaf on cotton paper 22 x 22 inches, framed This ...

ELIZABETH WAGGETT Caught Between II, 2023 Signed by artist 22 karat gold, oxidised silver, charcoal, graphite, and ink on cotton paper 30 x 60 inches, framed This piece is unique. T...

Daniel Arsham employs elements of architecture, performance, and sculpture to manipulate and distort understandings of structures and space. He is known for a uchronic aesthetic that...

David Salle OVERUNDER Portfolio of 5, 2021, (15/20) Archival pigment ink print, hand varnished 42 x 42 in

Yellow Painting, Pop Art Portrait, Pop Art-Are You Still There? in Yellow A B O U T T H I S P I E C E : "Are You Still There? in Yellow (Hannah-A1)" began as a portrait photograph s...

faience boxer covered with cotton crochet in orange and white

Elizabeth Waggett We Are Here 32 x 60 inches, paper size Graphite, charcoal and 24 k gold on cotton paper This piece is unique Signed by artist Beautifully...

mixed media, plaster, cotton, oil, glue

mixed media, cotton , plaster, oil, glue

mixed media, cotton, plaster, oil, glue

mixed media, cotton, plaster, oil, glue

mixed media, cotton, plaster, oil, glue

mixed media, cotton, plaster, oil, glue