Kate Shepherd

Slanted Blue Ground, Four Red Walls (Maroon to Poppy)

2004

One of the "Women of Abstract Expressionism" Caradoc Ehrenhalt would often accompany his mother, the artist Amaranth Ehrenhalt, on her visits to the Louvre in Paris and the Metropoli...

Lovely splatter abstraction in a variety of colors by experimental artist Bill Alpert. Oil on arches paper.

One of the "Women of Abstract Expressionism" On very stiff construction paper Caradoc Ehrenhalt would often accompany his mother, the artist Amaranth Ehrenhalt, on her visits to the Louvre in Paris and the Metropolitan Museum of Art in New York. She enjoyed taking a close-up look at the works, many of which were by artists she had known personally. Mr. Ehrenhalt loved those trips. The museum guards not so much. "She would get very close to the art and point out details and techniques, her finger getting close," her son said. The guards would rush over and issue the don't touch warning." Amaranth Ehrenhalt was a multifaceted artist best known for her paintings. She was part of the second generation of Abstract Expressionists, working first in New York in the early 1950s, and then in Paris for much of the rest of her career. Never afraid to experiment, Ehrenhalt's work may best be described as bold, even aggressive, in execution, composition and even color. She worked across media, including oils, works on paper, prints and etchings, tapestry, design and sculpture. Amaranth Ehrenhalt died on March 16, 2021 in Manhattan. She was 93. The cause was Covid-19. Ehrenhalt moved to Paris early in her career and settled there as an expatriate artist for the next forty-odd years. Le Select Cafe was the place where artists and cognoscenti met. There Ehrenhalt met Beauford Delaney and Yves Klein (for whom she bought baby...

Brodsky was a "romantic" painter, although he painted abstractly, and a master colorist. His abstract works are not "action paintings" in the sense of De Kooning or Pollock, but expl...

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first studied with American sculptor David Smith, who was among the first to work with welded steel. Hayes' sculptures have affinities to Alexander Calder's playful stabiles (Hayes met Calder in Paris) and to the shapes and colors of Matisse's late paper cutouts. Hayes works are firmly rooted in modern artists' interests in industrial materials and in commercial fabrication processes. He has had more than 400 exhibitions of his work. His work is in more than 70 museum collections, including MOMA and the Guggenheim. Throughout his career, Hayes painted models for his sculptures and sculptural-like landscapes of the geography surrounding his home in Northwestern Connecticut. In these landscapes, the gently rolling hills become modernist forms and shapes, recognizable as landscapes but also as explorations of shape and color. These are intriguing works of art in and of themselves. Lawrence Fine Art...

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first studied with American sculptor David Smith, who was among the first to work with welded steel. Hayes' sculptures have affinities to Alexander Calder's playful stabiles (Hayes met Calder in Paris) and to the shapes and colors of Matisse's late paper cutouts. Hayes works are firmly rooted in modern artists' interests in industrial materials and in commercial fabrication processes. He has had more than 400 exhibitions of his work. His work is in more than 70 museum collections, including MOMA and the Guggenheim. Throughout his career, Hayes painted models for his sculptures and sculptural-like landscapes of the geography surrounding his home in Northwestern Connecticut. In these landscapes, the gently rolling hills become modernist forms and shapes, recognizable as landscapes but also as explorations of shape and color. These are intriguing works of art in and of themselves. Lawrence Fine Art...

ColorSoundGrammar Ellen Hackl Fagan There is a long history of sound/color synaesthesia work, from Isaac Newton’s color organ to Alexander Scriabin’s “Prometheus,” but not much wor...

Inviting the accidental while painting, the artist's materials continue to reveal limitless possibilities for improvisation, like jazz music. Influenced by scientific theories-both real and imagined, kitsch, music, decorative art and indigenous textiles, Fagan's abstract paintings and interactive performance build connections between color and surface to sound. This exploration has led to creating a series of interactive games with viewers, the most recent being The Alphabet Game. To play, viewers select, from colored squares, the color(s) that best represent each note in the familiar ABC Song melody. Through these playful interventions their thoughts about color and music are explored in-depth. Documenting their responses in the form of photographs and notes in journals, Fagan has compiled the results of fifteen artists who played the Alphabet Game during a lecture on color where the artist was the guest presenter in order to create this particular painting. Fagan distilled the data gathered and painted this visualization of a color/sound alphabet based on the colors selected by this artist's group. These alphabet paintings introduce a wonderful completion to this pseudo-scientific investigation and celebrate painting...

Inviting the accidental while painting, the artist's materials continue to reveal limitless possibilities for improvisation, like jazz music. Influenced by scientific theories-both real and imagined, kitsch, music, decorative art and indigenous textiles, Fagan's abstract paintings and interactive performance build connections between color and surface to sound. This exploration has led to creating a series of interactive games with viewers, the most recent being The Alphabet Game. To play, viewers select, from colored squares, the color(s) that best represent each note in the familiar ABC Song melody. Through these playful interventions their thoughts about color and music are explored in-depth. Documenting their responses in the form of photographs and notes in journals, Fagan has compiled the results of fifteen artists who played the Alphabet Game during a lecture on color where the artist was the guest presenter in order to create this particular painting. Fagan distilled the data gathered and painted this visualization of a color/sound alphabet based on the colors selected by this artist's group. These alphabet paintings introduce a wonderful completion to this pseudo-scientific investigation and celebrate painting...

Oil-based alkyd enamel on plywood panel with cuts. this is a cut plywood wall relief sculpture with paint on it. This has an architectural quality to it. Peter Wegner (born 1963) is an American artist whose works consist of painting, photograph, collage, prints, artist's books, and large-scale installations Born in Sioux Falls, South Dakota, Peter Wegner earned his BA at Yale University. He works in multiple media, ranging from paintings and photography to large-scale installations and wall works. His pieces are included in major public and private collections worldwide. He currently lives and works in Berkeley, California. A core theme in Wegner's work is color. Professor, author, and critic Eve Meltzer noted in a 2002 review that “color may be the… center” of his entire practice. The artist first began deconstructing the subject in the late 1990s with his "Remarks on Color" series, which used commercial paint chip samples as their starting point. Another theme identified by experts is Wegner's engagement with architecture. For example, in his photography series "Buildings Made of Sky," Wegner reverses urban streetscapes to reveal how skyscrapers shape the open-air spaces between one another into skyscraper-like forms of their own. Wegner has also often pushed the construction of his works in an architectural direction, presenting paintings in the form of leaning columns, complex lattices, and multi-layered scrims. Huldisch noted that “[h]is stacks, grids, and lattice structures reveal both an interest in the forms of Minimalism and a rejection of the stringent doctrine that predicated them." Wegner's early work focuses on everyday artifacts embedded in popular culture, including typography specimens (the basis for the "American Types" series), commercial paint chips (in the "Remarks on Color" series), and security envelopes (in the "Security" series). Wegner produced in 2005 the "Lever Labyrinth," a human-scale maze composed of 2.2 million sheets of stacked paper––all in various shades of green, creating columns of subtly gradating color––constructed inside the Lever House building. In 2008, Wegner executed the major paper installation "GUILLOTINE OF SUNLIGHT, GUILLOTINE OF SHADE" at the San Francisco Museum of Modern Art. The piece consisted of 1.4 millions sheets of die-cut paper in 40 hues, arranged to create two 12’ x 26.5’ x 7" color gradations inside the museum: a wall progressing from blue to yellow in one gallery, and a wall progressing from yellow to red in another. Around this same time, Wegner introduced two new elements into his work: time and neon. He combined both in 2007 to create “THE UNITED STATES OF NOTHING,” which included time-controlled neon signage showing the name, latitude, and longitude of every U.S. city that invokes the concept of nothingness. He has showed at William Griffin Gallery. The gallery has featured solo exhibitions by James Turrell, Richard Long, Robert Rauschenberg, David Lynch, Ed Ruscha, Richard Serra, Tony Smith, Peter Wegner, Greg Colson, Liza Ryan and others. It has presented group exhibitions such as Early California Minimalism, a survey of significant early works by Robert Irwin, John McCracken, and Craig Kauffman; and Wall Installations, with works by Maya Lin, James Turrell, Richard Long, Robert Therrien, Teresita Fernández, Karin Sander, Peter Wegner, and Kira Lynn Harris. It has also presented projects of work by Richard Tuttle, Ana Mendieta...

These gold-leaf compositions by Cuban artist José Ángel Vincench are artworks and bold political statements. The artist is known for his lustrous paintings of minimalist abstractions...

Sacred Abstraction, Royal blue, red and gold leaf on carved wood pane, signed on the back. Krzysztof (Chris) Sokolovski born in 1985 in Eisiskes in Lithuania. Visual artist creating neosacral art: paintings, luminous objects, installations, and monumental painting. He is a creator of the concept of neosacral art. Since 2003 he lives and creates in Poland. He graduated from Gdansk University of Technology (Faculty of Power Engineering) and the Academy of Fine Arts in Warsaw (Faculty of Painting). Also, the artist took a course in clinical anatomy at the Medical University of Gdansk. Sokolovski has created neosacral chapels in Klebark Wielki (Poland) and in Salesian Sisters Convent in Jerusalem. Concept: Sokolowski wants to create modern sacral art founded on visual tradition and theologies of many cultures. “I think that abstract codification of faith is the prospective and only way to save serious attitude to contemporary human’s spirituality. It is fundamental for responsible usage of developing knowledge about the empirical world and for forming sensibility, which should be adequate to it. In my opinion, the progress of civilization cannot be holistic if it is mostly based on scientific and technological development – metaphysical sensitivity is necessary too. Empirical knowledge is confinement if we use it only for improving conveniences and gaining more knowledge. It is not enough for the evolution of mind, which should advance along with changes in our environment.” Individual Exhibition 2018 – “Neosacral Art”, Saris Museum, Bardejov, Slovakia 2018 – “Neosacral Art”, the John Paul II Catholic University of Lublin, Lublin, Poland 2018 – “Neosacral Art”, Gallery “Camaldolese Cellar”, Church in Bielany Forest, Warsaw, Poland 2018 – “Neosacral Art”, Museum of Mińsk Mazowiecki, Mińsk Mazowiecki, Poland 2017 – “Neosacral Art”, Zielona 13 Gallery, Łódź, Poland 2017 – “Neosacral Art”, the University of Warsaw Gallery, Warsaw, Poland 2017 – “Neosacral Art”, Bohema Gallery, Warsaw, Poland 2016 – “Neosacral Art”, Philosophy of Religion Department, University of Warsaw, Poland 2016 – “Neosacral Art”, Gallery of Association “Polish Community”, Warsaw, Poland 2016 – “Neosacral Art”, Exhibition-Conferential Centre, Białystok, Poland Selected group exhibition 2017 – “Deification of Body”, Sheptytsky National Museum in Lviv, Ukraine 2017 – “Sokolovski / Wąsowski / Jędrzejko / Mazuś”, Bohema Gallery, Warsaw, Poland 2016 – “1st Pomeranian Biennial of Young Art”, Sopot, Poland 2016 – “Shape of Spirit”, Gallery of Mathematics and Computer Science Department, Nicolaus Copernicus University in Toruń, Poland 2016 – “Diverted Reality”, Evelyn E. Jorgenson Gallery, Moberly, Missouri, USA 2016 – “Exhibition of Sacred Art”, Gallery of Saint Sophia...