Art by Medium: Plastic

This painting is part of a series that explores the light and landscape in Tennessee. Hartman creates an image on paper then stretches a silkscreen on top of the image to create the ...

This Plexiglass collage was created by Canadian artist Max Epstein. Epstein's works often feature Canadian motifs and bright colors. This collage is signed and titled at the bottom, ...

Grey Amphora is a glass fiber and reinforced concrete sculpture by Czech contemporary artist Pavlína Kvita, notable for its distinctive surface details—unusual within the artist’s br...

This piece depicts a colorful collage composition portrait of Audrey Hepburn, as Jon Davenport explores the process of deconstructing iconic imagery from the past and present. Davenport start’s out with photos of his paint-stained studio floor and collages in articles/advertising from an array of vintage magazines collected over the years; plus any other interesting stuff captured on his travels. He then transfers the images to a panel board, layering them on with gel medium, together with strokes, splashes, drips, and splats of paint. Once it's dry, another layer of gel medium is poured on to give it a melting effect. After it drys off again, another layer of paint is added to embellish a few areas and to accentuate or fade out certain aspects. And then, he finally adds a coat of polyurethane for protection and making the colors pop. This unique work is executed on a wood panel board and comes ready to be displayed with hanging wire on verso, signed by the artist lower right. Art measures 36 x 36 inches From biology student to owning and running a creative agency in London to a career as a fine artist, life has taken Jon Davenport on a rewarding and unconventional journey. Despite his scientific beginnings, he’s always had a strong artistic streak weaving its way through his different career paths. Growing up in Ipswich, UK, Jon was always an avid drawer, and could often be found with a pencil and paper in hand. With the arrival of his first computer, he embraced the new frontier of digital art and had work published in one of those early computer magazines. His creative urges took a backseat to get a biology degree at Brunel University in London. It was afterward, in his first job working at the Archant newspaper group in Ipswich, that he quickly progressed from plate maker to becoming an integral member of the art studio. It was during this time that he taught himself photoshop, desktop publishing, and graphic & web design. After a few years, he set up a design agency, and eventually went full time and moved to London. This proved to be a successful move, working for a number of clients such as Nike and Virgin, and gaining praise from the likes of Richard Branson and Tony Blair. It wasn’t until Jon moved to the USA to marry his wife, Atlanta artist Christy Kinard...

Artist: Initialled “RG” (British) Medium: Acrylic on paper Date: 1969 Size: 16 x 23 inches Signature: Initialled and dated 1969 Condition: Good condition Description A bold and ener...

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...

Introducing "Pa'Lante" - a striking sculpture by the renowned artist Carlos Rolon. Measuring at 10 1/2 × 10 1/4 × 9 3/4 in or 26.7 × 26 × 24.8 cm, this ex...

Dennis Sheehan New England Splendor, circa 2025 Signed lower right Oil on canvas laid to foam 7 1/4 x 8 inches Dennis Sheehan was born in Boston in 1950. His work is based upon the...

New York Window, 1986, mixed media on illustration board, signed and dated lower right, 31 x 20 inches (image), 36 ½ x 28 inches (sheet) Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault & Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. In 1971, Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

This mid-1950s photograph, captured by society photographer Slim Aarons, features several skis leaning against the wall of a hut marked 'Ski Instructors Only' in New Hampshire. This...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

signed lower right, and inscribed H.C Kinetic Colorful Relief Artwork on PVC in Acrylic Glass Box by Yaacov Agam A vibrant and visually engaging kinetic relief artwork by Yaacov A...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Be Free Fiberglass / Composites Filled Resin Base Turquoise Finish 15" x 15" x 11" "I am an artist, a sculptor not by choice but by destiny as each step in the path I followed guide...

This late 1950s landscape photograph, captured by society photographer Slim Aarons, features a group of people snorkelling off a small boat in Malta. This is an estate stamped and h...

Lion 1, Archival Photographic print reverse mounted to Plexiglass with aluminum hanging hardware- Edition of 10. Max Clifton is a renowned nature photographer who is celebrated not...

Roleke creates politically aware work. Her wall reliefs are composed of multitudes of plastic toys, oddly sexualized Disney characters and Happy Meal trinkets. Through investigation ...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

Miriam LaTour Shapiro Mardi Gras, 1997 Acrylic and mixed media Hand-signed by artist, signed in acrylic paint on the front Unframed (the work was removed from its original vintage fr...

#11071, 9 September 2015, Chaco Canyon, New Mexico is a piece from Jamey Stillings new ongoing project CHANGING PERSPECTIVES. CHANGING PERSPECTIVES buil...

Stunning original panel made of 9 handmade fibreglass relief sculptures from the artist's own home. Each sculpture is unique, with beautiful rust and copper tones, and several are signed by the artist. This very large, striking piece has a great Brutalist and Modernist feel. It is particularly notable as an example of Hitchin’s mastery of finishing techniques in simulating aged metal. The relief sculptures were visible outside of Ron’s house and became a Hackney landmark. They were carefully removed by the artist's estate after Ron passed away. Year: unknown (Ron was active from the mid 1960s to the early 2000s) Colour: Rust and copper tones Signature: 5 of the relief sculptures bear the artist's trademark initials “RH” Framing: The sculptures have been carefully mounted on a cotton covered board with a walnut wood trim and a hidden subrame on the reverse for ease of hanging. Authenticity: This piece was purchased directly from the Artist's Estate and comes with a certificate of authenticity signed by the sole executor of the Ron Hitchins...

Space Holiday Hong Kong KAWS Open unknown edition Unsigned

In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...

Dramatic oil on mylar on panel painting by Elena Zolotnitsky depicting a chair from her Extinct series of abandoned chairs and their unique histories. Professionally framed in a clea...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

This mid-1950s photograph, captured by society photographer Slim Aarons, features a couple preparing for a day's skiing in New Hampshire. This is an estate-stamped and hand-numbered...

This mid-1950s photograph, captured by society photographer Slim Aarons, features a couple preparing for a day's skiing in New Hampshire. This is an estate-stamped and hand-numbered...

FERRARA SHOWMAN GALLERY is proud to present Offerings, the first solo exhibition in twenty-three years of New Orleans-based artist and gallery co-owner, Jonathan Ferrara. For his gal...

High schoolers picnic on the beach at Bonita Springs, Florida, 1955. Slim Aarons Spring Break Black and White Photography Slim Aarons Estate Edition Nu...

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...

In German, the meaning of the word "niemand" ranges from nobody, none, and no one to anybody. Apply that to Viktor's unique sculptures and a dose of humorous social commentary meets...

Artist: Martha Ochoa Medium: Oil on canvas Size: 32 x 40 in. unframed. Signed, lower right. This vibrant oil on canvas painting presents a lively and detailed nature scene, in Marth...

Wall sculpture assemblage by Gertie Lowe, from 1978, is a conceptual abstract with everyday objects. Muted neutral tones are contrasted with vibrant accents. Signed and dated verso...

Bleed # 202181 (Abstract Photography) Chromogenic Print Face-mounted 3mm Matte Plexiglas — Unframed. Edition: 1/3. Work can be hung with either the WallCleat system (support bar supp...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

Jules Olitski Abare, 1987 Signed and dated on the reverse Oil-based acrylic and water-based acrylic on plexiglass 44 3/4 x 23 5/8 inches Provenance The artist Andre Emmerich Gallery...

Technique: Every piece of the artwork is handmade with polyurethane resin - mixed media mosaic  Edition: limited edition of 10 copies Certificate: of authenticity provided Size: 6...

Drawing inspiration from cultural icons and global events, Soren Grau's street art-infused Neo-expressionism invites art enthusiasts to be a part of a narrative larger than life. In ...

John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...

The ‘Astro Boy’ in vivid color was re-imagined by KAWS in collaboration with Original Fake and created by Medicom Toy. This collectable art figurine is made of vinyl and is part of t...

"Breathless Civilization" In this work, I explore the fragility of human systems—the moment when the line between protection and vulnerability begins to dissolve. Gas masks, once symbols of survival, become artifacts here. They no longer protect; instead, they carry the memory of fear and the instinct to endure. I intentionally build a tense, almost fractured surface—through aggressive drips, layered textures, and broken, gestural marks. For me, this is a visual language of urban decay and emotional residue, traces of what remains after overload, anxiety, and loss of control. The fragmented elements within the composition are not just formal—they reflect a world where survival has become automatic, stripped of human presence. I’m interested in that shift—from conscious existence to something mechanical. This work does not follow a direct narrative. I see it as an artifact—a trace of a civilization that adapted too late. Air, in this piece, is not only a physical necessity but also a metaphor for freedom—something increasingly restricted, filtered, and controlled. By merging painting with object, I intentionally blur the boundaries between mediums, reinforcing the central tension of the work: protection and vulnerability, presence and disappearance." Artist Irena Orlov. This original mixed media assemblage, measuring H34" x W57", masterfully incorporates various dimensional elements and techniques, including painting and found objects, to create a captivating abstract piece with a profound global message. Medium and Materials: This extraordinary artwork is a mixed media assemblage on fine art canvas, skillfully hand-stretched over 1" deep wood stretched bars. The artist's creative vision weaves together an intriguing combination of materials, including plastic, original World War 2 chemical gas masks, copper mesh, and small metal round container...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Introducing the ultimate fusion of art and function with the Cleon Peterson X Museum of Contemporary Art Denver X Modernica Case Study Chairs. These t...

Fiberglass/carbon fiber with a burnished graphite finish on composite base "Don Frost, sculptor, creator of completely unique, innovative and original fine art. ""We can only truly...

Small Bear Armchair is a polyester sculpture by contemporary artist Eric Valat, dimensions are 130 × 80 × 90 cm (51.2 × 31.5 × 35.4 in). The sculpture is signed and numbered, it is p...

Artist: Takashi Murakami, Japanese (1962 - ) Title: Hiropon II Bear Solar Citizen Watch Year: 1998 Medium: Plush Toy and Watch Edition: 1999 Size: 7...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

Planter square. Customization possible and designed in 2010. Also available to order in stainless steel. Here you will find a sturdy and high quality planter for use in your garden ...

Edition of 200 ex. Free shipment worldwide. Acquired directly from the artist. Recycled plastic. William Sweetlove, born in Ostend, Belgium, in 1949, unites dadaism with surrealism ...

flax, silk, polyester

SAFE IN THE MIDDLE is a mixed media wall sculpture by Vera Vizzi that juxtaposes urban sketching with organic relief. Executed in foam clay, acrylic paint and enamel on a 34 × 40 × 3...

This painted polyester sculpture is signed by the artist ‘Niki’ on the base. It is also numbered from the edition of only seven on the base. There were three artist’s proofs aside fr...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

Artist: Carla Goldberg Title: 4 Depths II Medium: Cast and Poured Resin, Enamel, Plexiglass Size: 30 x 30 inches (or 15 x 15" per square) Year: 2021 Price: $3200.00 as a set or $800....

This Mixed Media piece titled "I’m on Fire" is an original artwork by Roxana Azar made of a digital print on acrylic. The piece measures approx. 16”h x 11”w x 1”d. Roxana Azar’s wo...

This Mixed Media piece titled "Adansonii Suncatcher" is an original artwork by Roxana Azar made of a digital print on acrylic, plastic chain, metal, and glass. The piece measures app...

Cheffetz, Asa EARLY MORNING (BROAD BROOK, CONN.) Wood Engraving,1929. Springfield 15. Edition of 100, numbered 32/100, titled, signed, and inscribed "imp" all in pencil. 6 x 6 inches...

Friedrich Gräsel Bochum 1927 - 2013 Osnabrück Untitled, 1968 PVC Monogrammed and dated "68" on the reverse 68 x 59 cm Catalogue raisonné 534 Authenticity guaranteed in writing. The ...

Colorful abstracted color field painting of matchsticks by Bay Area artist Michael Pauker (American, b. 1957), circa 2000. Unsigned, but was acqui...