Lisa Kokin

Marriage a Vacillating State of the Libido, Mixed Media

2001

Paul LaMantia, who is often associated with the Imagists, has works in the permanent collections of the Art Institute of Chicago, the Museum of Contemporary Art, Chicago, and The Collection of Jean Dubuffet, Paris, France. Paul LaMantia is widely known in Chicago for his intense, often excoriating drawings and paintings. A student of Briggs Dyer at the School of the Art Institute in the ’60s, LaMantia was a daring and wildly inventive young artist who also attracted the attention of Jean Dubuffet, who asked him to come to Paris to swap ideas. His hallucinatory vision is inhabited by a comically disturbing mix of sinister creatures. A bird or bug-like being with multiple heads shares the stage atop a glass floor with a human/non-human creature sporting a horned helmet, a lizard type animal and other varmints. The artist insists that although these nightmarish inventions are not of the real world, they are in fact about the real world. Garish color, strong black outlines and a composition that fits the tradition of horror vacuii (fear of open space) characterize this drawing. A variety of media were utilized to execute his work. LaMantia’s rarely seen early drawings are outrageous, beautiful and disturbing. Paul LaMantia participated in these exhibits: Selections from the Permanent Collection: Made in Chicago and Chicago's Bauhaus Legacy Ukrainian Institute of Modern Art (UIMA) Subconscious Eye, Face Forward: The Art of the Self-Portrait Printworks Gallery. Global Blindnese, Packer Schopf Gallery Paul LaMantia has Exhibited with these artists: Alexander Archipenko, Morris Barazani, Richard Hunt, Richard Haas, Carole Harmel, Michiko Itatani...

Reginald Case (1937-2009) Geruchte: Rumors, Referring to persecution of Jews Case continued with contemporary works of Barbie and Madonna (entertainer) that reflected the glamour of an earlier era. In these there is an iconography of twentieth-century life that explores the imagery at the roots of American history and popular culture. In a recent series conmsisting of four groups of photo collage prints, Case has depicted Marilyn Monroe in variations called "MARILYN MONEY". This series substitutes her image for American currency...

Genre: Contemporary Subject: Abstract Medium: Mixed Media, Collage Surface: Paper Country: Spain Dimensions: 14" x 11" Dimensions w/Frame: 15" x 12" Alejandra Icaza Born in Bilbao, Spain in 1966. Lives and works in Madrid. Icaza studied at Saint Martins College in London (1985) and at The New York Studio School of Drawing, Painting and Sculpture in New York (1989). She is the recipient of the painting award of Fundación Barceló, Palma de Mallorca. The artist works with repetition of form, color, and shapes. Trees, animals, abstract patterning, floating elements, portraits, bubbles, and plants are elements of her work, in which different planes collide. Alejandra Icaza has had several gallery and museum exhibitions, including at the Blum & Poe and at the Danziger Projects. Education 1989 The New York Studio School of Drawing, Painting and Sculpture, New York 1988 Maryland Institute College of Art, Maryland 1987 Massana School, Barcelona, Spain 1986 Fellowship with Federic Amat and Andres Nagel, Spain 1985 St. Martin´s School of Art Master degree, London 1984 Camden Centre of Art Bachelor degree, London Solo Exhibitions 2009 Fortes Vilaça Gallery , São Paulo, Brasil Pelaires gallery, Palma de Mallorca, Spain Ana Serratosa Gallery, Valencia, Spain 2007 Seaweed and Octopus, Edward Tyler Nahem Fine Art, New York 2006 Fortes Vilaça Gallery , São Paulo, Brasil Pillar Parra & Romero Gallery Madrid, Spain 2004 Domus Artium Salamanca, Contemporary Art Center, Salamanca, Spain 2003 Eclipse, Pedro Cera Gallery, Lisbon, Portugal 2002 Fortes Vilaça Gallery, São Paulo, Brasil Marta Cervera Gallery...

Genre: Contemporary Subject: Abstract Medium: Mixed Media, Collage Surface: Paper Country: Spain Dimensions: 14" x 11" Dimensions w/Frame: 15" x 12" Alejandra Icaza Born in Bilbao,...

VALERIE HIRD MAQUETTE FOR ADULT ALICE ABROAD, 2019 paper, watercolor, ink pencil, wood, nails, foam care, PVA glue 17 x 9 x 2 1/2 in. 43.2 x 22.9 x 6.4 cm. Shadowbox

Eric Rhein “Fig. 9.4” 1998 Signed, verso Wire, paper, and found objects 19 x 17.5 x 3 inches (48.3 x 44.5 x 7.6 cm), framed This work is offered by CLAMP in New York City.

Untitled Mixed media with collage elements on paper, c. 1990's Signed by the artist in pencil lower right (see photo) Condition: Excellent Image size: 7 1/16 x 6 inches Support sheet size: 10 9/16 x 8 3/8 inches Provenance: Estate of the artist Dehn Heirs Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Non-objective artist AIMÉE FARNET SIEGEL works with color and line through the medium of found, hand-painted, and manipulated paper. Her works inhabit space outside the two-dimension...