Art by Medium: Graphite

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the...

Jason Craighead (b.1971) is an abstract artist based in Raleigh, North Carolina. In his mixed-media works, drawing, painting, and writing fuse seamlessly together His surprising com...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

PETER HALLEY 6/21/96.9, 1998 Graphite and ink drawing Hand-signed by artist, signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 Frame included: elegantly matted and framed in a hand made museum frame with UV plexiglass signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 This is a unique work Frame included: elegantly floated and framed in a museum quality hand made white wood frame under UV plexiglass Measurements: Framed 16.5 inches vertical by 13 inches horizontal by 1.5 inches Artwork (visible) 10 inches vertical by 8 inches horizontal Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

Abstract, landscape, figurative: a rabbit burrow, reminiscent of Venice Carl Dimitri’s artistic style is multifaceted, blending abstract, contemporary, and expressionistic elements....

Artist: Lowell Nesbitt (1933-1993) Title: Impossible Series (Niagara Falls) Year: 1990 Medium: Graphite on Arches paper Size: 50.25 x 35.5 inches Inscription: Signed, dated by the ar...

We're pleased to showcase Mexican Master Rufino Tamayo's work on paper. Flying Bird portrays a bird flying over the mountains. Rufino Tamayo created this modernist and minimalist dra...

“Bright Blooms 4” - Oil, Acrylic, and Ink on Canvas, 36 x 48 inches “Azalea Light” radiates with a lush vibrancy, where soft magenta blooms and golden hues blend effortlessly with t...

Lisa Lala is well known for her palette knife oil paintings of Birds on a Wire. She explores the larger, intangible questions of our existence simply depicting birds quietly resting ...

This series of works by the Danish artist Peter Kramer (Roskilde, 1959) with numerous exhibitions between Spain and Denmark are entitled "365 urns", in which the artist works with ti...

Abstract geometric painting with a cool toned palette of green, blue, and grey with accents of black and white against a sea foam green colored acrylic wash background "Blue and Grey Green Plan" made by Hudson Valley artists, Donise English, in 2022 Graphite, colored pencil, and acrylic painting on vellum 24 x 18 inches unframed, 31 x 25 x 1.5 with an 8-ply white mat, non-glare plexi, and simple black moulding Signed, verso Excellent condition and ready to hang This abstract geometric painting on vellum was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a blue green toned background of acrylic wash. A grid of box-like patterns in sky blue, green, grey, and black with white line work are stacked to create an irregular shape or an "imagined city grid", says the artist. The painting on vellum is complemented by a simple black frame with an 8-ply white mat, non-glare plexi, and wire backing. It's in excellent condition and ready to hang. About the artist: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. A central checkerboard formation floats over a ground of pastel color or washes of grey or cream. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. The artist recently retired from her decades career teaching at Marist College and is now devoted full time to her art making. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Simkhovitch was a celebrated artist in New York City from the 1920's through the 1940's. Life Magazine did a story on him and he was having great success in the New York Galleries. ...

Working with a palette of graphite, charcoal, ink, and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alche...

This loose watercolor of a woman veiled in a navy scarf conveys a sense of mystery. Her beautiful blue eyes are the color of water. She stares out at the viewer with something to tell us. But what?? This piece is matted in a heavy mat measuring 14h x 11w inches. This artwork is unframed. Contact gallery for framing request. Eduardo Alvarado Female Mask Watercolor and pencil on paper 8.50h x 5.75w in 21.59h x 14.61w cm EDA008 EDUARDO ALVARADO b. Spain, 1972 EDUCATION 1990-95 Licenciado en BB AA La Facultad de BB AA de la UPV, Bilbao La Facultad de BB AA de San Fernando, Madrid SOLO EXHIBITIONS 2018 Casa del Libro, Logroño 2016 Casa de Cultura. Miranda de Ebro 2015 Casa de Cultura. Miranda de Ebro Galería Espiral, Noja 2014 Galerie d´Art Anne Broitman. Biarritz, France 2013 Galería de Arte-Centro Cultural (junto a Vesna Pavlovic). Novi Sad, Serbia Centro Cultural La Vidriera, Maliaño The Gallery of Contemporary Fine Arts (junto a Vesna Pavlovic). Nis, Serbia 2012 Gallery Seasons (junto a Vesna Pavlovic). Sofia, Bulgaria Gallery SKC (junto a Vesna Palovic). Belgrado, Serbia Manos para qué os quiero. Logroño Galería Espiral. Feria Internacional de Arte Contemporáneo, Santander Sala Asociación Artistas de Guipuzcoa (junto a Juan Carlos Cardesín), San Sebastian 2011 Galería Espiral, San Miguel de Meruelo Galería Jovan Popovic (junto a Vesna Pavlovic). Opovo, Serbia Galería Veciti Trkac (junto a Vesna Pavlovic). Nis, Serbia Exit Art Gallery (Fundación Adolfo Dominguez...

Woman with Bicycle: Two Views Graphite on paper, c. 1890 Unsigned Graphite study of standing female nude verso Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman ...

Puissance is a beautiful and unique charcoal drawing on paper of a dynamic horse. The Fabriano paper is a high quality watercolor grade set in a custom white wood frame, all archival...

This series of works by the Danish artist Peter Kramer (Roskilde, 1959) with numerous exhibitions between Spain and Denmark are entitled "365 urns", in which the artist works with ti...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

This series of works by the Danish artist Peter Kramer (Roskilde, 1959) with numerous exhibitions between Spain and Denmark are entitled "365 urns", in which the artist works with ti...

"Waiting" (2023) by Bunyod Suvonov is original handmade drawing made with charcoal and graphite on toned paper. This piece depicts a portrait of a woman with long flowing hair laying...

This layered paper and drawing collage titled "Mass Study II" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood panel. Using found ...

Represented by George Billis Gallery, NYC & LA -- Joseph Piccillo's large-scale canvases contrast masculine and feminine qualities, carefully balancing strength and power beside grac...

Salvador Dalí Mandolin, ca. 1930 Graphite on paper 6 × 8 in l 15.2 × 20.3 cm Frame included - 11 x 13 in l 28 x 33 cm The authenticity of this artwork has been confirmed by Mr. Desc...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

Pencil on smooth cream wove paper with a window pane drawn in gold ink, 8 3/8 x 11 3/4 inches (213 x 298 mm). Signed illegibly and dated in ink and again in pencil within the lower m...

John Brock Lear, Jr., an American Modernist artist from Philadelphia, Pennsylvania. His works are in the collections of the Philadelphia Museum of Art, the Woodmere Art Museum, the D...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He was a recipient of the Moss/Chumley Award from the Meadows Museum and has ...

Blizzard in Woods Graphite on paper, c. 1945-1963 Unsigned Provenance: Sid Deutsch Gallery, New York Annotated with notes for completing the drawing. Deutsch Gallery has handled Bur...

Herbert Alphonso Dixon, AKA Rap, was an outfielder for the Negro Baseball League on several different teams for a total of sixteen seasons. He had the honor of being the first African American player to hit a home run at the famed Yankee Stadium in 1930. Lawrence has captured the ball player here in all his glory. The watercolor is floated in a cream shadowbox and framed in black measuring 34 x 15 inches. Margie Lawrence Rap Dixon...

Signed lower right, 'Mario Cespedes' (Bolivian-American, born 1942) and created circa 1985. Matted dimensions: 24 H x 18 W x .25 D inches. Born in Bolivia, Mario Cespedes immigrated...

Grey portrait of woman with white polka dots and a swath of green collaged media "Becca" by Ransome 2023 graphite, acrylic and collage on panel 8 x 8 x 2 inches, unframed Piece can b...

Pink + purple portrait of women in profile surrounded by collaged floral discs "Lori" by Ransome 2023 graphite, acrylic and collage on panel 8 x 8 x 2 inches, unframed Piece can be h...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black and brightly colored paints and brushwork in charcoal ...

Claes Oldenburg Fagends Carved in Rock, De-Accessioned from the Denver Art Museum (137, Axsom and Platzker), 1975 Offset Lithograph. Hand signed and ...

Parched Leaves, 2017 by Roberto Fonfría Found images transferred to acetate film, collage, acrylics, and graphite. Mixed Media on 100% Cotton Paper Image size: 30 in. H x 22 in. W F...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an authenticity unlike any other: layered, textural, controversial, open to imagination, colorful, personal, and inspiring. Coruzzi’s work encapsulates not only urban environments, but the inhabitants as well. Irony is laced between figures drawn with an energetic architectural hand. His work is colorful, funny, and biting through resolutely rendered vignettes of people and places. Fabio Coruzzi used acrylic paint, oil pastel, gel ink, and graphite to create this one-of-a-kind artwork on canvas. It is signed by the artist on the back. This colorful 24-inch high by 38-inch wide original painting is stretched, wired, and ready to hang. It does not require framing. Free local Los Angeles delivery. Affordable U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included. Fabio Coruzzi was born in Foggia, Italy in 1975, and now resides in Southern California, USA. Remarking on his work in conjunction with his perspective on urban environments, Fabio states: "I wish that each painting I make should be like a poem of the place where I've been. I wish to become a poet of our time, like somebody would tell: "I've been there", but telling that my way, telling the audience that, no matter where we are, in a boulevard or in a restaurant, each single place is like an empty box...

In this work, the artist returns to a favorite spot in Alley Pond Park, Queens, to memorialize the ever-evolving carved names and glyphs in this majestic trunk. She is documenting no...

Edward Avedisian ( 1936-2007 ) 7.5 X 5.75 Oil paint on wood panel This is not signed on front. It bears his name verso. Provenance: Hudson, N.Y. estate of noted Art Collector Albert...

French School, mid century The Bathing Suit unsigned watercolour painting with gouache, on paper (two-layers affixed together), unframed sheet: 18 x 14 inches Eye catching paintin...

Raro studio dell'artista Preraffaellita Frederick Sandys,Studio per l’opera Portrait of a Lady,( Anne Simms Reeve of Brancaster Hall, Norfolk) proprie...

Study of Lucie (Ralph) Belin seated in an interior Graphite on paper, 1915 Signed with the estate stamp, Lugt 909b, the stamp faded from blue to brown (see photo) Provenance: Neffe-D...

The promise of Change, 2022 by On Hansen Oil wax, acrylic, graphite, organic ink, and crayon on Awagami paper Image size: 35.03 in. H x 25.59 in. W Unique Unframed ________________...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Still Life Oil and graphite on paper Signed lower left 12.25 x 1...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black and brightly colored paints and brushwork in charcoal ...

Head of a Deco Woman (recto) Standing Male Model (verso) Graphite on paper, 1925 Signed with the artist's initials "PW" and dated 1925 Created while the artist was studying at the Art Institute of Chicago in 1925. This is a preliminary drawing to a series of class assignments. From a sketch book Image/Sheet size: 7 5/8 x 4 7/8 inches Condition: Excellent Slight syrface dirt Provenance: Estate of the Artist Winchell Heirs Paul H. Winchell (1903 – 1971) was a printmaker, illustrator, teacher, and gilder according to Crump, 2009 (Minnesota Prints and Printmakers, 1900- 1945, Minnesota Historical Society Press). He was the son of Mrs. Looman Winchell of Shepherd Rd as noted in a 1937 newspaper article (Painsville, O. Telegraph). Winchell grew up in North Perry, Ohio and then studied and worked as an instructor at the Art Institute of Chicago. He studied with Leon Kroll (1884 – 1974), Boris...

Antique Floral Still Life of Roses, Delicatly Rendered American, 19th/20th Century Signed: A. Ziffel 1906 (Lower, Right) " Still Life of Roses ", 1906 Watercolor and Gouache on...

This untitled work by Rick Sindt was inspired by the works of Paul Cadmus. It is a small graphite drawing of two male nude figures with both of their faces somewhat obscured during an intimate moment. The graph lines often used by artist are still visible to distinguish between the photographic elements of a Polaroid photo and this actual drawing. The piece is framed in a white float frame measuring 12.5h x 10.5w inches. Rick Sindt Untitled - After Cadmus graphite on panel 10h x 8w in 25.40h x 20.32w cm Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? In the body of work submitted here, black and white graphite drawings maintain a Polaroid scale referencing the found historical photographs on which they are based, oil paintings provide isolated moments of feeling as they investigate questions about queer dispositions in a contemporary setting, and a few key sketches provide insight into how a few individual inquiries began. Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

“There is that Far-off Tall Dog Singing to a Hole in Bank” (Frill Dog series). A colorful contemporary dog painting of Foxhounds dogs singing to a fox in a hole with accompanying text from a book is an inspirational departure from the traditional illustrations found in British Rudyard Kipling's "Thy Servant a Dog", 1930. The book was the first ever narrated by a dog. Nancy van Meter...

Floral encounters, suddenly (Abstract painting) Acrylics, oil, spray paint on unprimed canvas - Unframed Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a den...

This contemporary pencil drawing by Francine Fox of two meticulously detailed moths on a knotted braid of hair is inspired by the mystical animal and natural world. At 6 x 4 inches, ...

Inspired by her background in fashion, artist Lindsey McCord creates vibrant portraits that encapsulate the confidence that comes with the fun of being stylish and chic. Her figures ...

Ed Ruscha 200 Years Old, 1980 Offset lithograph Hand signed and numbered 132/425 by Ed Ruscha in graphite pencil on the front 30 1/2 × 25 inches Unframed Bibliography: ED RUSCHA: AN ARCHIVE OF PROJECTS, 2023, pg 149. Publisher: Haddad's Fine Arts, Inc., California, USA This is a quintessential Los Angeles print - celebrating the 200th anniversary of the City of Angels; a wonderful, classic Ruscha image. It was commissioned by LA200 for the 1981 Los Angeles Bicentennial, and is based upon an original drawing that Ruscha created for the project. Ruscha's lifelong artistic preoccupation has been a thought-experiment on the theme of the decline of American civilization, so naturally Los Angeles would be represented as a sunset (not a sunrise); the image is also perhaps a subtle reference to Sunset Boulevard - a geographical location as well as the title of an iconic Hollywood movie. This work is pencil signed and numbered from the limited edition of only 425. A must have for any Ruscha fans with a connection to this legendary West Coast city. Pop Art, Art with Text...

A striking pop art drawing, dating from the 1960s, featuring lettering and a packet of Lucky Strike cigarettes. Pop art as art movement emerged in the 1950s and flourished in the 196...

James Van Fossan's "Back At The Stables (II)" (2024) is an original handmade charcoal and graphite drawing on paper that depicts a cowboy leaning against a sawhorse in a moment of re...

This layered paper and drawing collage titled "House Studies Series V" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood. Through a ...

Katherine Bello Title: Path Medium: oil and graphite on canvas Year: 2021 Size: 30" x 20" x 1.5" Signed, dated and inscribed by hand COA provided (issued by representing gallery) Katherine Bello's aim as an artist is to capture a sense of place, a moment of time, or a feeling - to evoke a sense of wonder. Bello loves paint and paint brushes; bold, gestural mark-making and the interplay of color. She is influenced by light and landscape, poetry, history and science. Formerly educated in Chemical Engineering and Interior Design, Bello is drawn to the process of creating Something out of Nothing. Abstract, sbstract art...

Joseph Piccillo’s meticulous charcoal and graphite drawings and paintings reveal an exquisite draftsmanship tempered by emotional sensitivity. Piccillo presents an action-based assem...

Landscape mineral oxide on paper (fabriano) 50 x 72 cm it i Frame options available her painting tells of the relationship between man, nature and time, the l...

Landscape mixed media on juta canvas 100x100 cm 2019 her painting tells of the relationship between man, nature and time, the landscape, the sign and the trace, through the stripp...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black and brightly colored paints and brushwork in charcoal ...

“Summer Wave 1” - Oil, Acrylic, and Ink on Canvas, 48 x 48 inches Comes with a champagne color floater frame. “Summer Wave 1” radiates with a lush vibrancy, where waves of layered s...

She Knew She Would Not Be The Same, 2014 Mixed Media on %100 Cotton Paper Found images transferred to acetate film, collage, acrylics, and graphite. Image size: 15 in. H x 11 in. W ...

Days Fade Away (2019) by Roberto Fonfría Mixed media on canvas: Collage, acrylics, oil pastel, graphite Image size: 70 in. H x 49 in. W One of Kind Mixed Media ___________________...

Arlene Shechet Summer Set 8, 2005 Watercolor monoprint on dieu donné hand made paper 21 × 27 1/2 inches Signed and dated in graphite on the front Exquisite watercolor monoprint on di...

Pair of abstract geometric graphite drawings inspired by the moon in white frames "Oculus I and III" by David Dew Bruner made in 2024 graphite on paper Each individual drawing measur...

"Untitled" Mixed media piece by the artist KENT KALMAN PACHUTA. Mediums used include color pencil, graphite, pastel and powdered pigment on thick paper. The piece measures approximat...

Waterlilies 3 (Abstract painting) Acrylic, oil bar, oil pastel and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resi...

"Daughters of Atreus" Broadway Play Set Design Drawing American Modernism WPA. 8 x 10 ¾ inches. Graphite on paper, 1936. Initialed on lower right. The play opens October 14, 1936 at Broadway’s 44th Street Theatre. Handwritten title, date, and signature on lower center of original matte which is now affixed to the verso. Inscription on lower right of matte reads, "For Prince & Barbara - Jo Mielziner...

Black crayon and graphite with white heightening on blue handmade laid paper. Adhered at all four corners to a period support, on which the title and an illegible date (perhaps 1815) appear to be written in the artist's hand. ________ Aglio was born in Cremona is 1777 and his artistic talent was recognized early in his life. He was promised a place at the University in Milan by the Holy Roman Emperor, however, his formal education was upended before it even began by the invasion of Italy and Austria by Napoleon. Aglio joined the war effort and fought in a series of major battles near Venice before becoming seriously ill. At the age of about 23 he was released from duty, and traveled to Rome to focus on his health, and landscape painting. In Rome, Aglio studied with the renowned artist Campovecchio. At the invitation of well known British architect William Wilkins (designer of the National Gallery and University College London), Aglio relocated to London in 1803. He made London his permanent home, and married Letitia Clarke in 1805. He enjoyed a lucrative career painting frescoes in the interiors of high society townhouses, country manors, and major London concert halls and theaters. Most notably, Aglio painted multiple official portraits of Queen Victoria...

Attack From Above, 2020, acrylic, oil, canvas, yarn and thread on canvas. Green, blue, pink, eagle, jet, spider-man, abstract.