Art by Medium: Mylar

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Robert Morris Investigations (with Guggenheim Museum Labels), 1990 Graphite drawing on Mylar. Framed with the original Guggenheim Museum label (lent by Sonnabend), & Castelli Gal...

Gretchen Bender Thou Shalt Not Take the Name of God in Vain (The Third Commandment), 1987 2 Color Lithograph and embossment on reflective mylar Signed and numbered 37 from the limite...

Layers of foliage on a gingko tree with coral reddish orange leaves grace dark indigo branches on the pristine white background of this contemporary botanical painting on Mylar mount...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

Reverse Mylar Painting, 'Blue Composition (1),' 2017 by Catherine Howe. Molding paste, oil and acrylic mediums on polyester sheeting, 40 x 30 in. / White Frame: 46 x 40.25 in. Howe's...

artwork dimensions (unframed): 15h x 20w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

Susan Kiefer Goddess Charcoal, pastel and reflective mylar on paper Year: 2000 Size: 30x25x0.35in Signed, dated and inscribed by hand COA provided Ref.: 924802-1660 Framed drawing o...

Mary Schiliro's work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring new possibilities of presentation. She uses a dipping process w...

Mary Schiliro's work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring new possibilities of presentation. She uses a dipping process w...

3D multiple, 1966, published by The Something Else Press, New York, a wooden box with plexiglass slipcover, containing one book with 94 pages, ‘Performances Notations 1959/66’ 15 fol...

This abstract composition in blue and brown black earthtones is created with a unique perspective which gives a feeling of looking up at a sky or looking down into merging paths of w...

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...

Hand signed, numbered and dated on verso. Landscape 8, from Ten Landscapes (C. 58). Iridescent silver Mylar collage on opaque black Rowlux and gray moire Rowlux. The full sheet, moun...

Luminous pink magnolia blossoms grace burgundy brown branches with hints of dark turquoise green on the pristine white background of this painting on Mylar mounted on acrylic panel. ...

This is a beautiful ink on Mylar by Alexis Portilla, unframed. Daylight 26.5 x 21 in. Ink and Mylar mounted on acid free foam core Unframed Framing a...

abstract geometric black and white ink drawing on mylar framed in white frame For over twenty years now Patrick Carrara has lived in Brooklyn, where he has maintained a studio and s...

This beautiful orange work is by Cathy Choi. Her pieces are minimalist, colorful and highly glossed surfaces. Finding inspiration from the physical and metaphysical qualities of wate...

Layers of foliage in shades of vibrant violet purple grace turquoise teal and dark brown branches on the pristine white background of this painting in acrylic on Mylar mounted on acr...

"Descriptions I have heard or read of my work, most of which either delight or offend me, are: allegorical, apocalyptic, provocative, prophetic, dream-like, surreal, fantastic, weird...

In this contemporary botanical painting in acrylic on Mylar, layers of foliage grace delicate branches in shades of deep violet on the pristine white background. This painting is mo...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

Gerald Laing City Center Light Opera, 1968 Lime colored Screenprint on die-cut Mylar Hand signed, numbered 6/144 and dated in pencil on the front 25 × 35 inches Unframed Gerald Lai...

Layers of foliage in shades of bright teal blue, dark navy cobalt and a faint pale bluish gray grace dark teal blue branches on the pristine white background of this painting in acry...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

In this contemporary botanical painting in acrylic on Mylar, layers of foliage in shades of blue from pale sky blue and periwinkle to dark navy cobalt grace the dark hunter green and...

"Absence No Presence" by Brooks Salzwedel is an original work that depicts a tree with a rainbow colored structure emerging from a snow covered landscape. Brooks is a Los Angeles-...

Jennifer Losch Bartlett Air: 24 Hours, 1994 Hardback monograph (book) bound in the publisher's original pink satin cloth with the covers and spine stamped in black. In publisher's original acetate dust jacket. Hand signed and inscribed by the artist on the half title page to Nadine (Witkin) 11 × 9 1/4 × 1 inches Unframed Hand signed and inscribed to Nadine on the title page Hardback monograph bound in the publisher's original pink satin cloth with the covers and spine stamped in black. In publisher's original acetate dust jacket. Publisher's Blurb: In Air: 24 Hours, Jennifer Bartlett creates her most personal paintings, all made between 1991 and 1992. Here, in each work, the unflinching presence of time is carefully, conspicuously monitored by a clock - light gray for day, dark gray for night. But motifs, color combinations, even certain images variously recur throughout the 24 paintings, shaking us up, causing us to realize that even the most seemingly casual, intimate scenes (a child's bedroom, a bathroom, the garden fish...

This abstract composition in blue and brown black earthtones is created with a unique perspective which gives a feeling of looking up at a sky or looking down into merging paths of water. Cyphers use of silver leaf gives the central forms a reflective glow, which balances well with her masterful brushwork and mark making. This painting has a meditative quality that draws the viewer in and allows for introspective thought. Peggy Cyphers, “Silver Spider Spirit”acrylic and silver leaf on mylar ($2750 USD framed in shadowbox frame with museum glass) Peggy Cyphers has had over 30 solo exhibitions throughout the United States and Europe since 1984. Cyphers received numerous awards for her work, including NEA, Elizabeth Foundation, Peter S...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

In this contemporary botanical painting in acrylic on Mylar mounted on acrylic panel, layers of foliage in shades of teal blue green, pale periwinkle blue gray dark indigo and hints ...

Layers of foliage in shades of bright blue, dark cobalt and teal grace violet blue branches on the pristine white background of this contemporary botanical painting...

Layers of foliage in vibrant shades of deep purple grace dark brown branches on the pristine white background of this horizontal painting in acrylic on Mylar mounted on acrylic panel...

Dark indigo blue oak leaf foliage with hints of dark burgundy graces delicate branches on the pristine white background of this large vertical painting in acrylic on Mylar mounted on...

Gingko leaves in deep hues of brown, dark purple and blue on delicate golden brown branches are striking against the pristine white background of this painting in acrylic on Mylar. ...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

Steven Baris states, "The body of artworks from my Jump Cut series advances my long running meditation on the experience of contemporary built space. The formal language of my work d...

Gingko leaves in deep hues of purple and lavender on delicate brown branches with hints of teal are striking against the pristine white background of this vertical painting in acryli...

Steven Baris Turtles All the Way Down D1, 2024 oil on Mylar 24 x 21 in. (bari097) Artist Statement I characterize my work as diagrammatic, a far more apt term than the nearly meanin...

Tree branches in dramatic hues of dark blue are striking against the pristine white background of this painting on Mylar. This painting on Mylar requires mounting and bracing to be ...

The face of a young woman is featured in this oil painting on mylar, mounted on panel that is 12 x 12 inches. Professionally framed in burnished gold leaf over wood with an outer dim...

LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty...

A common thread connecting the separate but related groups of paintings and constructions is my obsession with the spatial and temporal disjunctions that we are experiencing in our r...

gouache & graphite on mylar

graphite on mylar

'Feeling of Being', oil on paper mounted on panel features a chair for two. The painting is part of Zolotnitsky's 'Extinct Series' that focuses on abandoned chairs. The artwork is 35...

The face of a young woman is featured in this oil painting on mylar, mounted on panel that is 18 x 16 inches. A compelling and elegant work of art by Elena Zolotnitsky, who is Inspir...

Nine chair paintings inspired by - and named after - individual artists whom Zolotnitsky met during her residency. Oil on mylar, 6 x 6 inches / framed white, 16" x 16" or as a suite...

A common thread connecting the separate but related groups of paintings and constructions is my obsession with the spatial and temporal disjunctions that we are experiencing in our r...

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...

Reclaimed Tipping Tower, 2010

Anonymous Self Portrait Collage 4 2019 Signed and dated on label, verso Ink, graphite, acrylic, and Mylar on 300 lb. hot-pressed watercolor paper mo...

"Long Grass and Blue Mountain" by brooks Salzwedel is an original work depicting a warm, subtle landscape. Brooks is a Los Angeles-based artist whose work navigates the emotional t...

Yellow rose (for friendship) in crystal vase - still life is featured in this small scale mixed media oil painting that is 10 x 10 inches. Oil on mylar ove...

Gold and alabaster-esque blue oil painting, 'Remake' featuring a statue from antiquity, in oil on mylar, mounted to panel; from Russian American visual artist, Elena Zolotnitsky, who...

The face of a young woman is featured in this oil painting on mylar, mounted on panel that is 12 x 12 inches. Professionally framed in burnished gold leaf over wood with an outer dim...

Dina Brodsky's realist oil on mylar animal miniature, "Egret," 2018, depicts an Egret preening itself, its neck arched elegantly as it reaches for its furthest wings. The bird's bril...

This drawing by Zachari Logan is offered by CLAMP in New York City.

This drawing by Zachari Logan is a self portrait made with colored pencil on Mylar depicting the artist nude immersed in the foliage of the forest. Forest No. 1, After Tom 2022 Accompanied by certificate of authenticity signed by the artist Colored pencil on Mylar 9 x 6.5 inches “This drawing is a tribute to Tom of Finland, whose work has long-influenced my own in relation to drawing, the construction of space, and self-portraiture. In Finland’s compositions, images of men in the landscape—logging, foresting, and relaxing (together, naked, clothed, alone, in pairs and in groups) had a profound effect on my own thinking about the queer body represented. I see no separation between land and body—we are nature. The queer body is not unnatural (that is a false dichotomy, often espoused by religious and conservative world views). Finland’s renderings of bodies in nature are for me a rupture of the largely European tradition of only representing male nudity...

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...