Digital Abstract Paintings

This is a highly collatable ( only 10 made in exceptional giclée quality and with original hand-painted highlight by artist) in a very attractive price. Only ten Limited Edition, he...

Joseph Glasco (American, 1925-1996) Untitled 1978-81 Acrylic on canvas collage initialed verso and dated ‘81 48 x 51 inches Joseph Glasco was born in Paul’s Valley, Oklahoma and gre...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black and brightly colored paints and brushwork in charcoal ...

Relinquished is a low edition print of a run of 33 prints by Carne Griffiths. The print measures 81x61cm and has been printed on 330gsm smooth epson brightwhite paper. Size: H:81 cm x W:61 cm Originally from Liverpool, Griffiths graduated from the Kent Institute of Art and Design in Maidstone in 1995. After completing a one-year KIAD fellowship and moving to London he served an apprenticeship at the longest-established gold wire embroidery firm in the world. Here he worked as a gold wire embroidery designer for twelve years, eventually becoming the creative director. Carne produced intricate designs for the military and the film, theatre, fashion and advertising industries. His designs were used for the uniforms in the films Valkyrie, The Last King of Scotland...

American Artist 1922 – 2012 Served his country as a Sergeant in World War II, both stateside and in the Philippines. After the war, native Chicagoan Ronald Ahlström graduated from the School of the Art Institute, He became a prominent Abstract Expressionist collage assemblage maker working in a style similar to some of the New York school assemblage artists such as Robert Goodnough. Utilizing cutout letters in a concrete poetry style. He frequently exhibited his collages and paintings in the Chicago and Vicinity exhibits of the 1950s and 1960s. He worked as the curator of the Tacoma Art Museum in Tacoma WA during the early 1960s. He showed at Exhibition Momentum in the ’60s, and was selected for the Corcoran Biennial. Together with his colleagues and fellow-abstractionists Robert Nickle, Morris Barazani, Harry Bouras, George Kokines, and George Waite, he exhibited at McCormick Place in an independently produced survey of contemporary Chicagoans, circa 1962, under the banner 12 Chicago Artists. An adept and sensitive painter, Ahlström’s most personal work is as an abstract expressionist collage maker. Using strips of paper, sometimes weathered and beaten into rough hewn surfaces, he creates immaculately layered, lively, gestural compositions. He was the recipient of many art awards and prizes throughout his long career. His works are part of numerous private, corporate and museum collections. His work was published in many national and international art publications including Who's Who in America and Who's Who in American Art. he taught art at both high school and college level. His other passions included history, literature and music. He was an accomplished base fiddle and guitar player and often played professionally in clubs during the late 1940s and 1950s. In 1958, he was awarded the William H. Bartels Prize of five hundred dollars at the Art Institute of Chicago. Education: Art Institute of Chicago University of Chicago DePaul University Exhibitions: Art Institute of Chicago Annuals, Corcoran Biennial in Washington DC, 12 Chicago Artists 50 Chicago Artists European Exhibit at the US Information Agency Collage and Construction, Hyde Park Art Center, Chicago Tacoma Art Museum, Washington Henry Gallery, University of Washington, Seattle 50th Northwestern Annual, Seattle Art Museum, Chicago Invitational, University of Illinois One Man Exhibits: Rockford College, Rockford Il. Barat College, Lake Forest Il. Rodger Wilson Gallery, Chicago, Il. Touchstone Gallery, New York, NY. Joseph Faulkner, Main Street Galleries, Chicago, Il. Zriny Galleries, Chicago Il. Awards: Clyde Carr Prize, Art Institute of Chicago William H. Bartels Prize, Art Institute of Chicago James Broadus Clark Prize, Art Institute of Chicago Alumni of Art Institute Prize Singer and Sons Prize, Navy Pier, Chicago Abel Fagan Prize, Festival of Fine Arts, Lake Forest, Il. Ford Foundation Purchase Prize, Seattle, Wa. Collections: Art Institute of Chicago Barat College Tacoma Art Museum, Wa. Phibrook Art Center, Tulsa, Ok. Blue-Cross Collection, Chicago, Il. Atlantic Richfield Collection Illinois Bell Telephone Collection Container Corporation of...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black and brightly colored paints and brushwork in charcoal ...

Painting done on extra strong cardboard paper. Large painting done with acrylics. The painting wants to represent a symphony in circular forms and lines. It is a very delicate paper ...

"Silver Songs": Authentic Feng Shui Art. Open up your space and your co-creational opportunities to cosmic energies by placing Silver Songs in your office or living room. Meditate on...

Michael David (b. 1954) Billie's Tree Signed, Titled, and Dated 1982 Verso. Provenance: Museum of Contemporary Art, Chicago (bears label en verso) where it had been exhibited for nearly two decades. It was also Exhibited at the Museum of Modern Art (MoMA NYC) just after he won the National Guggenheim Award. The Piece Measures approximately 70" x 71" x 8" Deep. Michael David Singer; born 1954, is an American painter. Born in Reno, Nevada, David's family relocated to Brooklyn, New York, where he was raised. He attended SUNY Fredonia for one year and in 1976 received a B.F.A. from Parson's School of Design. Michael David is classified as an abstract painter, best known for his use of the encaustic technique, a was pigmentation technique which incorporates pigment with heated beeswax. He is also known for his works in mixed-media figure painting, photography and environmental sculpture. He often incorporates religious iconography and symbolism, art historical themes such as the nude, and contemporary politics into his paintings resulting in a critical dialogue between the layered abstraction of the surface and the integrated representational imagery. His work is included in the permanent public collections of the Metropolitan Museum of Art, the Guggenheim Museum, the Jewish Museum in New York, the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art, among others. In 1976 David, erotic photographer Roy Stuart and Fredonia friend Richie Stotts formed a band called The Numbers, with David on bass. The group was a fixture in New York's early punk rock music scene, playing in clubs alongside punk pioneers Television, Blondie and the Ramones. David also played bass with punk innovators Jerry Nolan of The New York Dolls, Cheetah Chrome of The Dead Boys, Marky Ramone, Peter Gordon, David Van Tieghem and the free-improvisation noise music group Borbetomagus. In 1977, The Numbers were approached by impresario Rod Swenson, who was seeking musicians to form a backing band for singer Wendy O. Williams, whose radical persona he sought to exploit as punk music and performance art. The Numbers became The Plasmatics but the attention David began to gain as an important voice in the art world caused him to leave the band to pursue his burgeoning painting career. David's first one-man show was in 1981 at the historic Sidney Janis Gallery. That year he was awarded a Guggenheim Fellowship, at the time the youngest artist ever to do so, and in 1982 was awarded an American Academy of Arts and Letters prize. He went on to exhibit at galleries worldwide and was represented by Knoedler & Co. for the next 25 years. David is best known for using the encaustic technique of painting, which uses pigment combined with heated beeswax. David built his early career on abstraction and religious iconography, which formed the bulk of his output until 1999. Since then he has also experimented with representational painting and traditional photography. In 2000, he developed the "Chortens" and "Populations" series, about which prominent art historian and critic Donald Kuspit writes: "They are enigmatic works, all the more so because of the way their innumerable details form singularly monumental, intimidating wholes. Dense yet delicate, awesome yet intimate, they convey the fragility as well as grandeur of sheer being. Layer upon layer of paint piles up like layer upon layer of coral, but the textural result is more epic, not to say startling, than any coral island, and virtually any other existing abstract expressionist painting (upon which they are stylistically founded)." In 2001, David developed bi-lateral neuropathy due to being poisoned by gases released by overheated beeswax used in the encaustic process. The disease left him with partial paralysis of his legs, slowing the production of his painting for a number of years. That year, David began painting one of his best-known series, the "fallen Toreadors", inspired by 19th century French Realist painter Édouard Manet's "The Dead Toreador" of 1864. In 1993, David experimented at the "20x24" Polaroid studio in Manhattan, which resulted in a series of portraits of playwright Edward Albee and of friend Jackie Gross, which would become the ongoing "Jackie" series of mixed-media works. When neuropathy rendered him unable to paint during 2003, he returned to the 20x24 camera and shot large-format Polaroids inspired by Caravaggio; nude men and women dressed as Toreadors, and religious imagery. In 2002, David began to develop The Greenhouse Project, an evolving "architectural construct" based on historical American Antebellum greenhouses built using the actual glass negatives sold to starving farmers in the post-American Civil War South. David has indicated that each greenhouse will, through the display of photography and use of social networking, create a forum and exhibit for ideas and artifacts related to civil and human rights; the specifications of each greenhouse particular to the community in which each is built. David's work was reviewed in Artforum and Art in America, and is considered one of the last links to the New York School of painting. David may be the most innovative master of immediate surface since the abstract expressionists. He has acknowledged his debt to Abstract Expressionism, but he has transformed it. Where the abstract expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, and as such to reinstate prehistory, David seems to turn the cave into a temple, as his more considered, concentrated, indeed, dense, contemplative painterliness indicates, so that his paintings have the aura of post history. SELECT GROUP EXHIBITIONS 2023 Radiate, Garvey Simon, New York, New York 2021 Selections from NYFA - Courtesy of the Martin Z. Margulies Foundation, New York, New York 2020 Bill Lowe Gallery Presents: Masterworks from the Gallery 2016 The Golem, The Jewish Museum of Berlin, Berlin, Germany In a Post-World: Post-Punk Art Now, The Invisible Dog Art Center, Brooklyn, New York 2014 Gallery Artists, Bentley Gallery, Pheonix, Arizona 2011 Post Mammalian Tension: Michael David & Scott Browning, Bill Lowe Gallery, Atlanta, Georgia 1999 Waxing Poetic: Encaustic Art in America, Montclair Art Museum, (Jasper Johns, Jackson Pollock, Robert Rauschenberg etc) Forty Years of American Drawings, Raab Galerie, Berlin, Germany Germany Summertime, Knoedler & Company, New York, New York 1997 Michael David and James Hyde...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black and brightly colored paints and brushwork in charcoal ...

Alan Partridge's Bleeding Heart - Abstract Expressionism Double-sided artwork: Backside abstract expressionism represents a dancer in a coral dress A subdued abstract painting in r...