Art by Medium: Rubber

The Surface of Water 31 x 40 x 5.5 in Mixed Media on Hand-Sculpted Acrylic Shimmering blue wall sculpture made by Paul Rousso. A dimensional piece that reflects light beautifully. ...

Relief MG901 is a medium size contemporary modern abstract geometric wall relief by Dutch visual artist Let de Kok. This relief consists of two interspaced panels of museum glass wit...

Gregor Turk’s new series titled “CONFLUX” features wall-mounted box-like maps of global choke points, strategic locations where passage by land or sea is constricted. Coastlines are ...

Janet Nelson has created a wholly original method of making artifacts using contemporary materials – painted mixed polymers and paper laminated with wood glue which are then distress...

This is an authentic Prismograph by world-renowned Israeli artist Yaacov Agam (b. 1928), one of the leading figures in Op Art and Kinetic Art. Details: • Technique: Prismograph (l...

In this contemporary mixed media artwork, carefully applied nontraditional materials including light green crushed jade, snakeskin shed, porcupine quills, bonded copper, fossilized w...

Hand-cut vinyl applied to Artboard. No.3 in the 80’s aesthetics series. This piece looked into Americana imagery of which was all over British TV during the 80’s, but with an added t...

Inspired by amateur archaeologists such as Heinrich Schliemann who discovered Troy and by past elaborate hoaxes like that of the Piltdown Man, Joshua travels the world performing staged archaeological excavations exposing the malleability of our history. During these performances he discovers his own versions of historical artifacts, crafted from objects from his youth--such as baseball cards, G.I. Joe action figures, POGS, and various other toys and items. His discoveries and claims, while false and absurdly comical, are based on real research. Joshua Goode: Born in Fort Worth, Texas in 1981, Joshua Goode is researching and developing mythic historical misinterpretations and manipulations in an effort to expose the malleability of our past, present and future. His alternate history and mythology preserve memories of childhood ranch life in Texas by reimagining objects and imagery from his youth as iconic ancient artifacts. Having studied history and worked as an archaeologist on many actual excavations, he conducts staged excavations around the world, working with the community as a performance. The constructed artifacts of his invented civilization mix fact and fiction to appropriate and distort the history and myths of each region he engages. His ‘artifacts’ have been exhibited in solo exhibitions in international venues such as the Razliv Museum, St. Petersburg, (Russia); Capellades Museum, Barcelona, (Spain); Zendai Museum of Modern Art, Shanghai, (China); Darb 1718 in Cairo, (Egypt); LaSala Gallery, Zaragoza, (Spain); Galerija Miroslav Kraljevic...

Relief MG913 is a medium size contemporary modern abstract geometric wall relief by Dutch visual artist Let de Kok. This relief consists of two interspaced panels of museum glass wit...

Relief MG803 is a medium size contemporary modern abstract geometric wall relief by Dutch visual artist Let de Kok. This relief consists of two interspaced panels of museum glass wit...

This two panel stretched and dyed rubber piece was created by American contemporary artist John Drummer in the early 2000's. This work was featured in the exhibition "Jack Drummer" organized by BT&C Gallery and which coincided with the Burchfield Penney Art Center's exhibition "The Effects of Time". This is currently the only work available for acquisition. The Burchfield Penney exhibition that featured these rare pieces was voted one of the best 10 exhibitions that year in ArtForum's 2016 Top Ten by Matthew Higgs, who would later curate an exhibition of Drummers work for White Columns gallery that was reviewed by Art in America in 2017. John E. (aka “Jack”) Drummer (1935-2013) was an itinerant and mercurial figure. Self-taught as an artist, his earliest works from the late 1950s and early 1960s were included in several key exhibitions in Buffalo and New York City, including the first of Allan Kaprow’s legendary ‘New Forms, New Media’ exhibitions that he curated for Martha Jackson’s gallery in 1960. Drummer’s 1962 solo exhibition at the Gordon Gallery, New York received a rapturous review from critic Brian O’Doherty in The New York Times, who praised Drummer for his ability to “make something out of nothing”, describing his work from this time as “screens for the imagination,” a notion that could equally be applied to his later works on view at White Columns in a 2017 solo exhibition. Despite this early success, Drummer would soon leave New York City, returning initially to Buffalo, before moving to New Orleans and then California, before eventually settling in Hawaii. Very little of Drummer’s early work has survived, including almost none of the 300-odd, often large-scale, styrofoam-based sculptures he produced in Hawaii. On returning to his home-town of Buffalo in the early 1980s, Drummer would embark on an extraordinary body of work that would preoccupy him for the next two decades. Drummer’s late work is clearly related to, and expands upon, the histories of minimal, post-minimal and process-orientated art. His approach is empathetic with that of the Italian Arte Povera artists, sharing their interest and investment in ‘poor’ and quotidian materials. Working almost exclusively with ‘found’ materials, and specifically materials that had previously been employed and subsequently discarded in industrial and manufacturing processes, Drummer’s work of the 1980s-early 2000s was largely overlooked and unexhibited during his lifetime. Drummer’s late works employ the rubber ‘blankets’ – used in offset printing to remove excess ink during the printing process – as supports. These ‘ready-made’ supports often revealed aspects of their ‘histories’: their surfaces are typically marked with ghostly images and texts resulting from the printing process. Drummer would then work directly onto and into these ‘pre-prepared’ supports. Drummer’s late works often incorporate impressions taken directly from the surfaces of walls, floors, and fencing, etc. – ‘images’ created by laying the rubber sheets face down onto a desired surface, and then applying pressure from the back of the sheet to create a subsequent negative impression or image of that surface, likely a physically demanding process, akin to making a ‘brass rubbing...

Relief MG903 is a medium size contemporary modern abstract geometric wall relief by Dutch visual artist Let de Kok. This relief consists of two interspaced panels of museum glass wit...