Oil Mixed Media

"F*ck Bunny" Mixed Media Painting 65" x 44" inch by Ben Cope 2023 Mixed media oil on wood Ben Cope is a Georgia native graduating from Columbus State University with a BFA in cer...

Hyun Ae Kang was born in South Korea. Currently based in California, USA. She uses natural materials, mostly wood, to create her innovative, rich in colours and texture mixed-media w...

Contemporary artwork by New York artist David Rockwell. Oil and 3D printing on stretched canvas and wood frame. Rockwell makes paintings that live on the borders between traditional art practice, design, technology, and science. He enjoys the visual potential inherent in each of these interests; art history as an aggregate of thousands of years of representation, letterforms as brushstrokes of language, layering as a palimpsest of life lived, simple algorithms that give rise to complex forms in nature. Rockwell uses 3D printing to assemble computer modeled surfaces on both canvas and wood panels. Art historical references and figuration share space with pattern, texture and grid systems. This process also enables him to dive deeper through iteration (working in series, recombining elements) so that connections and themes emerge between individual paintings over time. “Three Body Problem...

Navy, 2017, Oil on Painted Plywood, 12x 12 x 1 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in Boston. Jean...

Fan, 2017, Oil on Painted Plywood, 12 x 12 x 1 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in Boston. Jean...

Diptych. Oil and silver leaf on steel. For centuries, artisans and artists have turned to gold, silver and copper leaf as a way to make their creations shimmer and shine. Also many ...

Encaustic work of art by an acclaimed Maine artist Sara Crisp. Sara Crisp draws inspiration from the delicate balance between the natural and the human-ma...

Tabori’s work depicts symmetric transformations of fast moving action, landscapes and intimate portraits, as seen and experienced both directly and through reflections of the subject...

Author: Tang Chenghua Title:Series The Exotic Landscape No.22-8 Date: 2022 Medium: Mixed Media Dimension: 72 x 60 cm About Tang Chenghua Tang Ch...

Author: Tang Chenghua Title:Series The Exotic Landscape No.22-7 Date: 2022 Medium: Mixed Media Dimension: 72 x 60 cm About Tang Chenghua Tang Ch...

Martin worked as the assistant to legendary artist Sam Gilliam for 12 years in his D.C. studio, after graduating from Carnegie Mellon where Sam was his Masters Mentor and guide. Over the past decade, he has incorporated mixed media and found objects into his abstract expressionist oil paintings on canvas, introducing new textural quality similar to Gilliam arts, which he helped to originate while his assistant. Martin received a B.F.A. degree from SUNY Purchase where he was inspired by figurative and abstract expressionism which evolved into his own style which Sam discovered in recruiting him to come to Pittsburgh to study for his M.F.A. degree with him where he credits his further artistic development with Gilliam. His works have been acquired by corporate patrons such as the Estée Lauder Companies, Eli Lilly and Company, Citigroup, Agatha Gund (past Chr of M.O.M.A) and Bill Kurtis TV Productions , who produced a TV special on A&E Channel entitled, "The Shattered Mind." His work has been featured in both group and solo exhibitions and presented two solo exhibitions at Fountain House Gallery in support of mental health. The prestigious New York gallery Vivian Horan Fine Art presented a solo exhibition of his work. Martin's work was also showcased in a solo show at the corporate headquarters of Estée Lauder Companies. Martin Cohen...

Everyday we wake up in a room. It's the same, similar. but its different. and every time you wake up in the room there are more memories.

"Enclosed" archival print of a female nude, oil paint and mixed media (including ball of twine and light bulb) encased in resin by artist Raphael Mazzucco. Signed in lower right corner.

"Gypsy" by artist Raphael Mazzucco. Archival print, oil paint and mixed media, including red thread, encased in resin, and framed in a rustic white frame. Signed on front lower right...

Listings with rich descriptions are 40% more likely to sell and this was made while trying to ignore my inevitable divorce.

Contemporary mixed media work of art by artist Syndey Drum.

Mixed media work of art by artist Sydney Drum

3DD3 (2) is a contemporary abstract mixed-media artwork with oil paint, wood, and acrylic paint. The piece features a brightly colored Chessboard with periwinkle and bright pink acrylic paint, reminiscent of pop art. The "chess pieces" are small wooden palm trees, inspired by Alysha's trips to Palm Beach when she was a budding painter, a theme of her early work. The unique premise of the artwork and its unique mediums make for a very special addition to any art collection. "I love the beach and sitting under the palm trees!" said Alysha when she was asked about the piece. Alysha Marko 3DD3 (2), 2019 Oil, acrylic & wood on canvas 36 x 36 in Artist biography: Born in Central Jersey, Alysha Grace Marko is an NYC-based painter and the owner of AMRM Gallery...

This stunning contemporary take on the classic American flag was completed by Alysha Marko in 2019. The process took a total of four months, as the pieces were individually cut by the artists using a jigsaw. The theme of the American flag was prevalent when Alysha was studying painting. A recognizable symbol, Alysha makes it her own by using striking, contrasting colors, and floral shapes. She takes what it means to be an American artist literally in this unique piece of American art. Alysha Marko Flag 3, 2019 Wood, acrylic & oil on wood 37.25 x 51.75 in $5,000 About the artist With her background in psychology, painting became a form of archetypal psychoanalysis of society and self-reflection. In 2019, Alysha Marko founded UEast75 Gallery, now AMRM Gallery...

Highway 96 is part of the “Path to Eminence” series by Meghan Wilbar. During the pandemic, the uncertainty and isolation led Wilbar on a new series of work depicting the roads that ...

Oil on vintage architecture magazine paper

Maren Conrad’s mixed media works manifest meditation in vibrant, visual display. Inspired by the concepts of loss and renewal, Conrad creates visual metaphors that express the collec...

Available at Madelyn Jordon Fine Art. 'The Front' by Eugene Healy, 2023. Fabric collage and oil on canvas, 14 x 12.5 in. / Frame 25.25 x 21.25 ...

Maren Conrad’s mixed media works manifest meditation in vibrant, visual display. Inspired by the concepts of loss and renewal, Conrad creates visual metaphors that express the collec...

Maren Conrad’s mixed media works manifest meditation in vibrant, visual display. Inspired by the concepts of loss and renewal, Conrad creates visual metaphors that express the collec...

Oil on vintage architecture magazine paper

Oil on vintage architecture magazine paper

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

“Of the return voyage there is nothing to tell… In 1912 all the world learned that the brave Norwegian Amundsen had reached the South Pole; and then, much l...

“She dug out one more cell just under the ice surface, leaving nearly a transparent sheet of ice like a greenhouse roof; and there, alone, she worked at sculptures...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

“Eight Adélie Penguins immediately came to greet us … They insisted on us going to visit Hut Point, where the large structure built by Captain Scott’s pa...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

"…last Thule of the South, which lies on our maps and globes like a white cloud, a void, fringed here and there with scraps of coastline, dubious capes, suppositious islands, headlan...

Oil on vintage architecture magazine paper

Luciana Levinton XXIII, 2017 Oil on vintage architecture magazine paper 12h x 9w in 30.48h x 22.86w cm

Luciana Levinton Untitled (Intervention), 2014 Mixed media on paper 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XLIV, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXXVI, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXXI, 2014 Mixed Media 11.9 x 8.1 in (30.23h x 20.57w cm)

Luciana Levinton 'XXX", 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXXIV, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXXII, 2014 Mixed media on paper 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXIX, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXVII, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Luciana Levinton XXV, 2014 Mixed Media 11.8 x 9.1 in (29.97h x 23.11w cm)

Contemporary artwork by New York artist David Rockwell. Oil and 3D printing on stretched canvas and wood frame. Rockwell makes paintings that live on the borders between traditional...

Tom Sime experiments with wax to create organic biomorphic compositions. The materials and techniques he employs require extensive knowledge and fam...

Tom Sime experiments with wax to create organic biomorphic compositions. The materials and techniques he employs require extensive knowledge and fam...

Martin Bradley 1931-2023 Untitled (Double Happiness), 1965 circa oil on wood diameter, 182.9 cm (72 in) signed Martin Bradley is a 20th-century painter. Born in London in 1931, fro...