Art by Medium: Steel

A limited edition wall mounted steel sculpture made of stainless steel on black board. Edition 1/7

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...

Mark Hilltout has always been drawn to the random, the discarded and the broken. Car dumps fascinate him - he is attracted to the broken edge, not the perfectly straight line. For th...

A unique spray painted cut steel sculpture by New York Graffiti artist, John "Crash" Matos. signed and dated lower edge. Crash (b. John Matos, Bronx, New York, Oct. 11, 1961) is a g...

Grisha Bruskin (Russian, b. 1945) Vision, 1992 steel Hand signed and inscribed Grisha Bruskin in Cyrillic numbered 117/300 Genre: Contemporary Subject: Religious Medium: Steel Gri...

Nyasha Mashumba, having been the apprentice of Mark Hilltout, has now started to carve out a career for himself as artist and designer, utilizing the medium and craft he has mastered...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

MATT DEVINE "Anemones #3 (4 pieces)" Steel with Powdercoat (Indoor Only) 17 x 17 x 6 in. Each 17 x 68 x 6 in. Overall *Can be installed on wall or placed on table* Matt Devine is ...

Contemporary Knotted Waxed Linen Sculpture, Stainless Steel Frame, Mixed Media Kate Anderson transitioned her painting background into a full career in craft and textile after a kno...

Jesús Curiá Perez Arco II, ed. 3/8 iron and bronze 26h x 17.75w x 7.75d in 116.84h x 45.09w x 17.14d cm JCP055 It is seemingly easier to identify with the ideas and thoughts of an ...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

An extraordinary candlestick that conjures up a beautiful shadow pattern in your home. The candlestick has a rust look and stands on a 15x15x15cm wooden base. Size/dimensions/weigh...

Walnut wood It’s all about the materials. That simple thought keeps me grounded in the moment. It’s how I stay focused on my art and approach to creating furniture that solves des...

The work was created in my author's technique of electric welding on polished steel sheet. The surface is covered with a protective varnish. When heated, metal warps, creating arbitr...

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...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

With its rustic aesthetic, this privacy screen will not only protect your privacy, but also add a special charm to your outdoor area. The rusty surface gives each element an individu...

"Circus" by Carole Eisner Abstract, Outdoor Sculpture in welded steel Carole Eisner has worked with scrap and recycled metal for 40 years creating elegant, abstract forms welded in ...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

Unique polygon sculpture with burner insert on an oxidized oak stele. The eagle's head is made of rusty steel, while the beak is made entirely of stainless steel. The included burne...

Discover the perfect combination of rustic charm and modern elegance - our garden wall made of rusty steel combined with stainless steel! Our unique garden wall adds a touch of styl...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

Charon's Steel Styx Passage, John Van Alstine. Stone and metal, usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a ...

Sisyphean Circle: Homage to Major Taylor Granite and galvanized and powder-coated steel 80" (height) x 70" (width) x 16" (depth) Stone and metal, usually granite or slate, and found...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

Abstract composition reverse-painted on an acrylic sheet (Plexiglas) by Laurel Morley (American, b. 1969). Acrylic sheet is mounted on a steel structure with "wings" on either side. ...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

This hand-crafted glass sculpture "Sunset" vividly depicts a desert scene with cacti and an intense sunset. Thousands of artfully arranged pieces of glass blend together to create th...

Wall-hanging sculpture: blackened steel, fused bronze, solvent dyes, abstract form, USA; Signed; 20 x 8 x 3 1/4 Suggesting archaeological artifacts from the future, these sculptures...

slate, pigmented and sealed steel Stone and metal, usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. ...

"The Test (1970)" Man holding a woman steel sculpture with attachable pieces by William King. signed with cipher, numbered and dated 1970. William Dickey King...

Bruch Hilding White (American 1933-2025) Hand signed at base. Not dated estimated to the 1980's by the artist. Painted with metallic automotive paint. Suitable for outdoors or indo...

Ball lamp d=28cm rust with oak base natural 20x20x48cm You will find here an exceptional as well as high quality lamp, which conjures up a beautiful shadow pattern on the wall or ce...

It was the tumult of the sixties that compelled me to drop out of Swarthmore College, move “back to the land” and become an intuitive artist. I believed that if we were to survive a...

Contemporary abstract steel standing sculpture, Signed to base "Opera / DA / 87". 1987 Provenance: From the Walden Collection Dimensions: 45 1/2" H; Base: 6 1/2" Diam. Large Abstra...

A large, powder coated mild steel sculpture, edition 1/3. Available in different colours on request.

Little Queen III is a bronze sculpture with green patina, it is connected to a steel base. The edition size is 50. This sculpture stands on shelf as well as be hung on wall. This scu...

Ball lamp d = 28cm rust with natural oak base 20x20x78cm. Customization possible and designed in 2010. Also available to order in stainless steel. You will find an exceptional and h...

David Kimball Anderson’s work is bold and graceful, respectful and spiritual. A practicing Buddhist and avid surfer as well as a sculptor, Anderson has given way to 4 decades of work...

Shipping costs on request Beautiful contemporary oxidized sheet steel Garden Wall or privacy screen. With this garden wall you'll conjure up an atmospheric ambience in your garden. I...

With its rustic aesthetic, this privacy screen will not only protect your privacy, but also give your outdoor area a special charm. The rusty surface gives each element an individual...

Beautiful contemporary oxidized sheet steel Garden Wall or privacy screen. Customization possible. With this garden wall you'll conjure up an atmospheric ambience in your garden. Ideally the garden screen should be lighted up from the front, so the wall becomes a highlight even in the dark. You can easily set up a privacy screen e.g. to the neighbouring property, on the other hand with this decorative element beautify your garden. This art piece will surely be an eye catcher in your yard! The garden wall is mounted on 2 round steel pins of 18 mm diameter. These are 1 meter long and are included. You only need a hammer to set up the wall: knock the round steel bars into the floor at the right distance, slide the wall over it, and you are good to go. We create the garden walls in our own forge. Therefore we are also able to produce special designs, e.g. name plate with house...

A life size, rusted steel sculpture, edition 2/5. The blue fish has been coated with marine grade blue paint. The sculpture can be kept outdoor...

Sisyphean Circle (OX) Fallen Obelisk Granite and galvanized and powder-coated steel 123" (height) x 102" (width) x 43" (depth) Stone and metal, usually granite or slate, and found o...

Discover the perfect combination of rustic charm and modern elegance - our garden wall made of rusty steel combined with stainless steel! Our unique garden wall adds a touch of styl...

With its rustic aesthetic, this privacy screen will not only protect your privacy, but also add a special charm to your outdoor area. The rusty surface gives each element an individu...

This beautiful handmade glass sculpture, crafted with colored glass pieces forming a beautiful butterfly combines aesthetic beauty with profound symbolic meaning of transformation, l...

UPPERCUT II Enamel on granite and steel 16" (height) x 16" (width) x 10" (depth) Stone and metal, usually granite or slate, and found object steel are central in my sculpture. The i...

A commanding and highly sculptural example of late 20th-century European Brutalism, this monumental, one-of-a-kind wall work by Jules De Waele for Pia M...

Sculpted out of steel, Sarah Alexander’s Relentless grassy shapes twist and dance as if they were alive, defying the nature of the iron that has been hand hammered and formed appears...

Polygon dragon on oak stele oxidized 20x20x70 Unique polygon sculpture with burner insert on an oxidized oak stele. The body of the dragon is made of rusty steel, whereas the wings...

Matt Devine is a self-taught sculptor working with steel, stainless steel, aluminum and bronze. Born and raised in New England, Devine moved to California in 1995, where he learned t...

This outdoor fire pit "Drop" is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. (Optional prepared for natural gas to be install...

Jesús Curiá Perez Kendo II bronze and artificial stone 30.75h x 12.50w x 7.75d in 78.11h x 31.75w x 19.68d cm JCP067 Jesús Curiá's sculptures arouse something more than purely aesth...

German Steel Fireplace "Globe" with base, is available in different sizes, and also available in stainless steel on request. Please contact us. This fireplace globe is the eye-catcher in your garden. Due to the great air supply, you can build up a nice fire very quickly. The base also serves as an ash tray, has an inserted bottom, but can also be used separately as a flower pot. Of course, you can also plant the bowl. We make the sphere in our own forge. Since the blanks are always randomly arranged, you get a unique piece. Of course, we can also produce special designs or implement special requests. Please contact us. In order to live up to our claim of sustainability and resource efficiency, we have deliberately chosen steel as a material. Steel is durable and can be recycled several times, which is one of its greatest advantages. It can be melted down and reused as often as required without its properties being impaired or lost. No other building material offers this in this form. Diameter of the ball: approx. 55 cm, 3 - 5 mm steel discs. Base: 30x30x80 cm, with inserted base. Total height approx 127 cm Weight: approx. 28 kg Used material: Sheet steel, rusted. About Stefan Traloc: The artist Stefan Traloc creates extraordinary steel works...

All that Matters is a wall sculpture dedicated to love, family, bonding and passion. Edition Size: 25. Sculpture for wall easily hung with 2 screws/nails. BIOGRAPHY OF MIREIA SERRA...

AMERICA MARTIN "Homage to Vermeer's Girl with the Pearl Earring" 1/2 inch Coreten Steel Sandblasted with a Rust Patina Finish, 1 inch Coreten Steel Base Size: 96 in tall x 27.5 in w...