Art by Medium: Screen

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

TECHNICAL INFORMATION Shepard Fairey Obey Lotus Diamond (White / Gold) 2013 Screenprint and Diamond Dust 34 3/8 x 26 in. Edition of 75 Pencil signed &a...

This beautiful layered floral work is by Cara Enteles. Her work is motivated by a fascination with nature and a concern for the environment. She splits her time between NYC and rural...

TECHNICAL INFORMATION Alex Katz Dancer 1 2019 Silkscreen 60 x 36 in. Edition of 60 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine A...

TECHNICAL INFORMATION Shepard Fairey Nubian Sign 2000 Screenprint 24 x 18 in. Edition of 140 Pencil signed & numbered Condition: This work is in excellent condition

TECHNICAL INFORMATION Shepard Fairey Sid Jocoy, from This is your God Series 2003 Screenprint 48 x 36 in. Edition of 72 Pencil signed & numbered...

TECHNICAL INFORMATION Shepard Fairey Rose Soldier 2006 Screenprint 24 x 18 in. Edition of 300 Pencil signed & numbered Condition: This work is in excellent condition Fran...

TECHNICAL INFORMATION Shepard Fairey Jesse 1998 Screenprint 24 x 18 in. A.P. Pencil signed & numbered Condition: This work is in excellent condition

TECHNICAL INFORMATION Shepard Fairey Kiss 1999 Screenprint 24 x 18 in. Edition of 100 Pencil signed & numbered Condition: This work is in excellent condition

Koak (US American, b. 1981) Families Belong Together, 2019 Medium: Five color risograph print Dimensions: 43 x 28 cm (17 x 11 in) Edition of 200: Hand-numbered and signed Condition: ...

From Bruce Springsteen's 'Born to Run' session. Photographed June 20th, 1975 and print created September 2006. Carbon pigment on Innova fiber paper. Hand signed and dated lower right by Eric Meola...

From Bruce Springsteen's 'Born to Run' session. Photographed June 20th, 1975 and print created September 2006. Carbon pigment on Innova fiber paper. Hand signed and dated lower right by Eric Meola...

From Bruce Springsteen's 'Born to Run' session. Photographed June 20th, 1975 and print created September 2011. Carbon pigment on Innova fiber paper. Hand signed and dated lower right by Eric Meola...

Matt Gondek is a Deconstructive Pop Artist, whose work is possessed with a punk rock spirit, celebrating rebellion and destruction. With a visceral pop color palette and a disarmingl...

Broqpa is the name of a small village in Nepal. Ziesook first learned of it from a TV documentary, The Last Empire. Ziesook was moved by what she learned about a small village locate...

Linus BILL (*1982, Switzerland) Topmodern, 2010 Silkscreen and Acrylic on Paper 188,6 x 125,5 cm (74 1/4 x 49 3/8 in.) Edition of 3 (#1/3) signed by the artist Born in 1982 in Switz...

Linus BILL (*1982, Switzerland) Untitled, from Too Cool For School, 2008 Silkscreen Print on Paper Sheet 100 x 70 cm (39 3/8 x 27 1/2 in.) Edition of 5 (#2/5) signed by the artist ...

Linus BILL (*1982, Switzerland) Untitled, from Too Cool For School, 2008 Silkscreen Print on Paper Image 90 x 60 cm (35 3/8 x 23 5/8 in.) Sheet 100 x 70 cm (39 3/8 x 27 1/2 in.) Fr...

"Untitled" screenprint by artist Georgy Litichevsky (Georgij Litischewskij) from the "Kinderstern" portfolio, published in 1989 by Edition Domberger to raise money to house families ...

Screen print with hand finished background. Hand signed and numbered by DALeast. Edition PP of 5 (outside the main edition of 50). Sheet size 17 x 30 inches. Frame size approx 23...

MILES ALDRIDGE (*1964, Great Britain) Doors #2, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

MILES ALDRIDGE (*1964, Great Britain) Doors #1, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

MILES ALDRIDGE (*1964, Great Britain) Doors #3, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

MILES ALDRIDGE (*1964, Great Britain) Doors #5, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

Peter Blake Love Hurts, 2005 Signed, numbered no.52/75 and titled by the artist Screenprint in colours on bright white Colorplan 700gsm with diamond dust 75 x 57.8 cm 29.5 x 22.8 inc...

Screen Print on Munken Pure paper.. Hand signed and numbered by Ben Frost. From the edition of 36. Frame size approx 23 x 19 inches. Artwork is in exc...

Serigraph in colors on paper. Hand signed and numbered by the artist. Edition of 300. Sheet size 36 x 29 inches. Image size approx 30 x 25 inches. Artwork is in excellent condi...

MILES ALDRIDGE (*1964, Great Britain) Venus Etcetera (after Botticelli) 2021 Screenprint in colours with silver ink Image 109 × 150 cm (42 3/4 × 59 in.) Sheet 121 × 162 cm (47 3/4 ×...

Miles ALDRIDGE (*1964, Great Britain) I Will Love You Tomorrow, 2020 Screenprint in colours Sheet 73.5 x 95 cm (28 ¾ × 37 1/2 ) Edition of 15, plus 3 AP; Ed. no. 9/15 Print only A f...

Miles ALDRIDGE (*1964, Great Britain) Bang! Bang!, 2017 Screenprint in colours printed on 410gsm Somerset Paper 97.5 x 120.5 cm (38 3/8 x 47 1/2 in.) Edition of 8, plus 2 AP, Ed. no....

Miles ALDRIDGE (*1964, Great Britain) New Utopias #3, 2018 Screenprint in colours with silver ink printed on 410gsm Somerset Paper Sheet 87 x 150 cm (34 1/...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 385. Artwork is in excellent condition. Certificate of Authenticity included. All reasona...

Screenprint in colors on paper. Hand signed, dated and numbered by the artist. Sheet size 31.5 x 26 inches. Image size 28.25 x 23.5 inches. From the edition of 200. Certificate of...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your ev...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your ev...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your ev...

Hand signed, titled and numbered by the artist. Serigraph on paper. Sheet size 27 x 34 inches. Image size 22 x 30 inches. Edition of 275. Artwork is in excellent condition. Cer...

In Acts 2:3 of the Bible, flaming tongues lap at the disciples, conferring upon them the ability to speak languages not their own. These fiery tongues have signified the power of speech, persuasion, and the ability to preach to the masses. Ingrid Bachmann’s tongues in Pinocchio’s Dilemma are glossy as if sugarcoated and boiled into hard candies—a crystallization process. They are the only of her works that people have tried to lick. Alternately seductive and repulsive, they wag mechanically at eye-level, emitting a small wind-up machine language of their own. The tongue gives the impression an attempt to tell, a revealing of secrets. On the opposing side of the room, a rod extends slowly from a hole in the wall, inching out, then back in. Pinocchio’s nose is an instantly recognizable stand-in for lies, liars, fakes. Pinocchio originated as the protagonist of a 19th-century children’s book by the Italian writer Carlo Collodi, and was most famously adapted by The Walt Disney Company. The pre-Disney Pinocchio is unruly, violent and mischievous; his story was originally intended to be a tragedy in which the marionette is hung from an oak tree branch by his enemies. Angry Work contains a latent violence—that which is found in childhood games, stories, myths, novels, and in the tools of the everyday. Two 14-foot-long knitting needles—domestic weaponry—lean as dead as stones, cool and silent, against the wall. These weighted objects commune with three bronze tongues, pre-vocalizations, embalmed. Bronze is a silent material. Two drawings invoke Cassandra, who was promised the gift of prophecy by Apollo. When Apollo appeared to her, she refused his sexual advances. In some iterations of the story, Apollo appeared as a wolf surrounded by mice and spat on her tongue. She awoke with a taste on her tongue. Maybe metallic, maybe red. She had been granted the gift of prophecy, with one condition: no one would believe her. This burdened us with one of the earliest models of hysteria—speaking in tongues, speaking marred truths. Bachmann maintains that Angry Work is not limited to women’s anger, or to personal anger. It’s about generalized anger. “The red world And corresponding red breezes.” [1] A cloud of anger, hints of red. An amorphous unknown. “The Airborne Toxic Event” [2] that encapsulates truth, lies, histories repeated, struggle, strife, shock, grappling and anger, anger, anger. I am told that The Angry Machine weighs 400 pounds and emits a mechanized hum. It will be fenced in, for the protection of both viewers and itself. It will not perform on demand, but at scheduled intervals, only occasionally. It has a projectile that is red. Red is the memory of a children’s game, trying to avoid hitting yourself, to avoid the smack of something against your skin. Red is interiority: the tongue, cheeks, throat and kisses. One can “see red” in a fit of rage. Red is blood, and red is romance — “roses being burned alive.” [3] [1] Anne Carson...

Color silkscreen with enamel inks and tar-like texture on Rising 2-ply museum board Portfolio of 8: $16,000

Color silkscreen with enamel inks and tar-like texture on Rising 2-ply museum board Portfolio of 8: $16,000

Robert Indiana Four Seasons of HOPE was created for his solo exhibition at the historic Four Seasons Restaurant in Tribute to his friend and architect Philip Johnson

Robert Indiana Four Seasons of HOPE was created for his solo exhibition at the historic Four Seasons Restaurant in Tribute to his friend and architect Philip Johnson

Robert Indiana Four Seasons of HOPE was created for his solo exhibition at the historic Four Seasons Restaurant in Tribute to his friend and architect Philip Johnson

Robert Indiana Four Seasons of HOPE was created for his solo exhibition at the historic Four Seasons Restaurant in Tribute to his friend and architect Philip Johnson

Robert Indiana’s message of HOPE has been an important, poetic language spanning his long career. The Four Seasons of HOPE was created for his solo exhibition at the historic Four Se...

Screenprint in black and white Saunders Waterford High White Paper Signed and dated recto in pencil Edition of 100 #40 The KAWS motif has become instantly r...

Robert Indiana’s message of HOPE has been an important, poetic language spanning his long career. The Four Seasons of HOPE was created for his solo exhibition at the historic Four Se...

Screenprint in colours 76 x 56 cm Edition of 125 published by DDT, comes with COA David Shrigley is known for his distinctive and darkly humorous drawings, animations, and sculptur...

Silkscreen in colors with enamel inks and tar-like texture on 2-ply museum board.

TECHNICAL INFORMATION Shepard Fairey Revolution Woman 2005 Screenprint 42 x 30 in. Edition of 50 Pencil signed & numbered Condition: This work ...

TECHNICAL INFORMATION Shelter Serra Roley 2015 Screenprint and Diamond Dust 30 x 22 in. Edition of 20 Pencil signed, dated and numbered Accompanied with COA by Gregg Shienbau...

TECHNICAL INFORMATION Shepard Fairey RI Bridge 2001 Screenprint 24 x 18 in. Edition of 200 Pencil signed & numbered Condition: This work is in excellent condition Frank Sh...

TECHNICAL INFORMATION Shepard Fairey Sunset & Vine Billboard 2011 Screenprint 24 x 18 in. Edition of 450 Pencil signed & numbered Condition: This work is in excellent...

TECHNICAL INFORMATION Shepard Fairey Presidential Seal Red 2007 Screenprint 24 x 18 in. Edition of 300 Pencil signed & numbered Condition...