Art by Medium: Mylar

Pigment pencil on Mylar - Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the center on a tilted table, she extends her fingers ...

Pigment pencil on Mylar - Unframed. This work is from a series titled Tipping Point. This drawing has been created eyes closed. It captures an accumulation of marks made by the arti...

Artwork by artist Kayo Shido. Shido’s work is a testament to the incredible talent found across the five boroughs of New York City. The city’s hidden corners are brimming with promi...

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...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observ...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

Plaything, 20”x20”, Ink on Hand-Cut Mylar, 2018 This piece focuses on America's cultural appropriation and exploitation of Mexican culture. Living in the desert Southwest...

artwork dimensions (unframed): 59h x 41w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing simil...

Roots of Matter provides a portal exploring a unique biological relationship between man and nature. Through similar network dynamics in the brain and the root systems of mycelium (fungus in the earth), both micro systems convey information and messages through their complex web-like systems, providing a potential for impacting human behavior and the health of the natural world. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

Pigment pencil on Mylar - Unframed The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the center on a tilted table, she extends her fingers t...

Worry, Original Contemporary Abstract Painting, 2020 11" x 8.5" (HxW) Alcohol Ink on Yupo Paper This is a powerful and emotive work by artist KC Pollak. Though an abstraction, the m...

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 ...

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...

General Idea was founded in 1967 in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contr...

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...

Robin Cole's (US based) "The Return II" is an original, handmade charcoal painting that depicts a grey monochrome sky with clouds. Nature and those that inhabit it—our human selves...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts at the libraries of the American Philosophical Society, the Science History Museum, and the Cajal Institute in Madrid. She has also worked on collaborative projects at the Center for Astrophysics at Harvard University, the Kavli Institute at Massachusetts Institute of Technology, and Rochester Institute of Technology. While artist in residence in the neuroscience program at National Institutes of Health, Kamen interpreted and transformed neuroscience research into sculptural form. Her work has recently been exhibited in the Creative Resilience: Art by Women...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts at the libraries of the American Philosophical Society, the Science History Museum, and the Cajal Institute in Madrid. She has also worked on collaborative projects at the Center for Astrophysics at Harvard University, the Kavli Institute at Massachusetts Institute of Technology, and Rochester Institute of Technology. While artist in residence in the neuroscience program at National Institutes of Health, Kamen interpreted and transformed neuroscience research into sculptural form. Her work has recently been exhibited in the Creative Resilience: Art by Women...

A contemporary piece by New York based artist Kayo Shido.

Reverse Mylar Painting, 'Blue Composition (2),' 2017 by Catherine Howe. Oil and acrylic mediums on polyester sheeting, 40 x 30 in. / White Frame: 46 x 40.25 in. Howe's reverse-paint...

A contemporary piece by New York based artist Kayo Shido.

Margo Vibes 1.2.3. projects a playful use of color and shapes. Formed with plaster of Paris with spray paint and encrusted with photography art print cuttings, glass bits, mylar, mir...

This is a beautiful Ink on Mylar by Alexis Portilla, unframed. Hand of Neptune 25.5 x 20 in. Ink and Mylar mounted on acid free foam core Unframed Fram...

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...

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...

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...

This is a series of five original photo based drawing and painting created on layered mylar as a negative to create the glowing images. The final piece is printed onto archival pigment paper. - Series of 5 original images - Edition of 3 - Signed and numbered by artist - Image dimensions 24" (h) x 19.8" (l); paper size: 30" (h) x 20"(l) - Unframed print - framing available upon request This technique was used to create an art exhibit installed at Los Angeles' Hammer Museum. Christine Nguyen is a Los Angeles based artist. She received her B.F.A from California State University, Long Beach and M.F.A from University of California, Irvine. As an artist, she is inspired by literature, science, nature, astronomy, geology, marine biology. The layering of works, creating depth, process and nature are important elements of her work . For example, salt crystallization has been used on found objects and encrusted on photo based works on paper. The salt crystallization process is similar to preserving some objects, while disintegrating others with time. By incorporating salt crystals onto the photo based paintings, the image presents a mystical otherworldly feel, capturing and refracting light and the slippage of time. Using photography’s processes as a point of departure, Christine Nguyen’s pioneering spirit led her to begin manipulating negatives and onward–creating her own by cutting, layering, and adding on. Nguyen’s subsequent explorations embrace drawing...

This is a series of five original photo based drawing and painting created on layered mylar as a negative to create the glowing images. The final piece is printed onto archival pigment paper. - Series of 5 original images - Edition of 3 - Signed and numbered by artist - Image dimensions 24" (h) x 19.8" (l); paper size: 30" (h) x 20"(l) - Unframed print - framing available upon request This technique was used to create an art exhibit installed at Los Angeles' Hammer Museum. Christine Nguyen is a Los Angeles based artist. She received her B.F.A from California State University, Long Beach and M.F.A from University of California, Irvine. As an artist, she is inspired by literature, science, nature, astronomy, geology, marine biology. The layering of works, creating depth, process and nature are important elements of her work . For example, salt crystallization has been used on found objects and encrusted on photo based works on paper. The salt crystallization process is similar to preserving some objects, while disintegrating others with time. By incorporating salt crystals onto the photo based paintings, the image presents a mystical otherworldly feel, capturing and refracting light and the slippage of time. Using photography’s processes as a point of departure, Christine Nguyen’s pioneering spirit led her to begin manipulating negatives and onward–creating her own by cutting, layering, and adding on. Nguyen’s subsequent explorations embrace drawing and object making alike, each body of work permeated with a sense of profound discovery. –Julie Dickover, Associate Registrar at the Hammer Museum in Los Angeles from 2003 to 2010 Her work has been exhibited locally, nationally and internationally such as at the Hammer Museum, Los Angeles; Kunsthalle zu Kiel, Kiel, Germany; Laguna Beach Art Museum, Laguna Beach;Pasadena Museum of California Art, Pasadena and are in many private collections. --- Images show: - Mountain Water...

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...

Artwork by artist Kayo Shido. Shido’s work is a testament to the incredible talent found across the five boroughs of New York City. The city’s hidden corners are brimming with promi...

Artwork by artist Kayo Shido. Shido’s work is a testament to the incredible talent found across the five boroughs of New York City. The city’s hidden corners are brimming with promi...

artwork dimensions (unframed): 35.5h x 39w 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...

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...

artwork dimensions (unframed): 37.5h x 13.5w inches Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing s...

artwork dimensions (unframed): 37.5h x 13.5w inches Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing s...

Roots of Matter provides a portal exploring a unique biological relationship between man and nature. Through similar network dynamics in the brain and the root systems of mycelium (fungus in the earth), both micro systems convey information and messages through their complex web-like systems, providing a potential for impacting human behavior and the health of the natural world. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...

medium: ink on hand-cut mylar Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with aut...

medium: ink on hand-cut mylar Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with aut...

medium: ink on hand-cut mylar Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with aut...

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 ...

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 ...

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 ...

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 ...

artwork dimensions (without frame): 33h x 45w x 6d inches Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sha...

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 ...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts at the libraries of the American Philosophical Society, the Science History Museum, and the Cajal Institute in Madrid. She has also worked on collaborative projects at the Center for Astrophysics at Harvard University, the Kavli Institute at Massachusetts Institute of Technology, and Rochester Institute of Technology. While artist in residence in the neuroscience program at National Institutes of Health, Kamen interpreted and transformed neuroscience research into sculptural form. Her work has recently been exhibited in the Creative Resilience: Art by Women in Science an international exhibition sponsored by UNESCO at their headquarters in Paris. It includes women in science from 31 countries, exploring art as a transformational aspect of the pandemic. Kamen’s artwork is in the permanent collections of National Academy of Sciences, Porter Neuroscience Research Center, National Institutes of Health, Cincinnati Children’s Research Hospital, the Levine’s Children’s Hospital, and the Don Myers Technology & Innovation Building at American University. As professor emerita of art at Northern Virginia Community College, Professor Kamen continues to investigate how the arts and creativity can enhance innovation and our understanding of science. Currently, Kamen is investigating the neuro-dynamics of curiosity and the creative process in her work as artist in residence in the Computational Neuroscience Initiative and Department of Physics and Astronomy at the University of Pennsylvania. ARTWORK INFORMATION Through the process of automatic painting, The Reverie Series creates a direct link between the inner and outer eye, capturing the temporary experience of double vision and the insights it revealed during recovery from brain surgery...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by...

ARTIST BIO Rebecca Kamen, artist, and lecturer on the intersections of art and science, seeks ‘the truth’ through observation. Her artwork is informed by wide-ranging research into cosmology, history, philosophy, and by connecting common threads that flow across various scientific fields to capture and re-imagine what the scientists see. Kamen has exhibited and lectured both nationally and internationally. As catalysts for her artwork, she has investigated scientific rare books and manuscripts at the libraries of the American Philosophical Society, the Science History Museum, and the Cajal Institute in Madrid. She has also worked on collaborative projects at the Center for Astrophysics at Harvard University, the Kavli Institute at Massachusetts Institute of Technology, and Rochester Institute of Technology. While artist in residence in the neuroscience program at National Institutes of Health, Kamen interpreted and transformed neuroscience research into sculptural form. Her work has recently been exhibited in the Creative Resilience: Art by Women...

A contemporary piece by New York based artist Kayo Shido.

A contemporary piece by New York based artist, Kayo Shido.

This is an artwork by Zachari Logan. Hive No. 5, Dandelion (from “Wildman Series”) 2023 Accompanied by a certificate of authenticity Blue pencil on Mylar 12 x 9 inches Contact g...

Rebecca Alston is a New York-based interdisciplinary artist and architectural designer. She is known for her rigorous exploration of color and form, meticulous use of line, and the integration of scientific principles within the visual arts. Her strong foundation has led to the investigation and innovative approaches to experimental mixed media work on paper, canvas, reliefs, and space. Her most recent work explores the tension between environmental, social, and political issues. Alston pursued post-graduate programs for several years at New York University and the professional program at Harvard University GSD. She obtained her BFA from Auburn University and an M.A. in Architecture from Kansas State University, where she was also an Assistant Professor in Environmental Design and Color Theory and Perception. She also maintains a studio on the Gulf Coast and has lived in London and traveled extensively in Asia. She has exhibited widely in Holland, Japan, and England as well as in Mississippi, Chicago, Kansas City, Washington D.C., and New York City. Alston’s work is in the Permanent Collection of The National Museum of Women in the Arts, The MADI Museum of Art, The Jule Collins Smith Museum of Art, and The Mississippi Museum of Art. She was awarded the Bronze Award by the Japanese Government for the Urban Art Plaza she designed in Osaka. ​ Alston's current bodies of art...