Early 2000s Abstract Paintings

Moonlight birds 2003. Cardboard, author's technique, 12.6x17.7cm Ivars Zaikins (1942-2017) Zaikins Ivars - an artist. He was born in 1942. During of the Soviet Union period, he wo...

Vinyl and Acrylic painting on Linen Canvas - Original Painting, Abstract Geometric, Interior Design Work Title : Multiple #2 Artist : Christophe Drodelot (French artist, Born in 1965...

Musical cafe 2020. Cardboard, oil, acrylic, 70x50 cm

Edie Nadelhaft “Fine Detail III” Oil on canvas, 22 x 48 inches. Offered unframed. Edie Nadelhaft's bold, large-scale, colorful monolithic oil paintings of bodega flowers were born f...

Yellow and green two-dimensions wall sculpture by Houston, TX artist, McKay Otto. What makes this sculptural painting unique is its two-dimensionality that is achieved through nylon'...

Highly energetic and abstracted garden flowers and the hint of a figure emerge from this abstract expressionist explosion of color and form, by Dana Wegter (American, 20th-21st Century), 2000. Signed and dated "Dana Wegter '00" lower right. Displayed in a bright yellow mat...

Bright, monochromatic abstract in warm, glowing desert tones by Marianne K. Brown (American, 1928-2019), 2000. The free flowing color field background is accented with areas of patterns evoking the Southwest. Signed "Marianne K. Brown" in the lower right and was acquired with a collection of Brown's work. Title "Desert Days" and date 2000 are written on verso. No frame. Marianne K. Brown (American, 1928-2019) has taught watercolor and design for thirty years. Her work has been shown in many art magazines, including Watercolor Magic and The International Artist Magazine, and several books on watercolor painting. She was elected secretary of Orange County Art Association in 1964. Listed in the National Watercolor Society. Author, Watercolor by Design Member, East Bay Watercolor Society 1964 - 3rd Place, non-figurative exhibit of Orange County Art Association 1978 - Honorable Mention, Central California Art...

Lights is a splendid contemporary artwork realized by the Belgian artist Martine Goeyens in the 21th century. Oil on table. Unique exemplar. On the back, the label of the certifica...

Modern abstract black, white, and gray landscape painting by American artist Jane Tate. The work features a central waterfall cascading down to the pools bel...

Don Giffin (American, 1948-2003) Skin Deep, 2001 Mixed media on canvas Hand signed Don Giffin, titled and dated (verso) 68 x 53 inches. Provenance: from the Art Collection of the InterContinental Buckhead Atlanta Framed dimensions: 74 1/4 x 59 inches. Don Giffin, Born in Chicago in 1948, Giffin earned his bachelor’s and master’s degree at what is now Cal State Northridge. An abstract painter who expanded the Southern California modes of “color and light” and “finish fetish” art, melding impressions of photography, printmaking and painting into a single work. Giffin, a master printmaker as well as a painter. In 1995 he mounted the first of his five solo exhibitions at the Christopher Grimes Gallery in Santa Monica. David Pagel described the artist’s work in a Los Angeles Times review as perfectly smooth, glass-like surfaces when viewed from afar that seemed to decay as one approached. They make pain palpable and evoke mortality’s inevitability, Pagel wrote of Giffin’s creations, which used layers of paint, gesso and tar that he pulled apart as they dried. “His corporeal abstractions bypass your mind to hit you in the stomach.” Giffin was one of 10 Los Angeles, California artists whose work was featured in the 1997 Biennial of the Orange County Museum of Art. (including Robert Blanchon, Jessica Bronson, Julia Couzens, Terri Friedman, Don Giffin, Dennis Hollingsworth, Carlos Mollura, Carter Potter, Monique Prieto, and Chris Wilder.) In reviewing that exhibition for The Times, Cathy Curtis wrote: Don Giffin reinvents stain painting by layering color in such a way that it emits an inner radiance verging on iridescence. The artist continued to push boundaries, and when he displayed his 6 X 5-foot acrylics at the Grimes Gallery in 2000, Pagel described them as mesmerizing works. The cross-fertilization between painting and photography that has been cropping up in some of the most intriguing works being made today takes breathless shape in Don Giffin’s physically resplendent paintings,” the critic wrote. “When I work,” he once said, “it’s like I’m doing a dance with the painting, and I’m not always leading. When the imagery is mysterious, the surface is perfectly smooth and the color contrast is just right with that glow of pale color coming through it’s sheer delight. Finish Fetish denotes a style of art related to the LA Look, pop art, minimalism, and light and space originating in southern California in the 1960s. Artwork of this type often has a glossy and slick finish and features an abstract design on a two-or three-dimensional surface made from fiberglass or resins. The style is similar to the simplicity and abstraction of minimalism and the bright colors and reference to commercial products found in pop art. To the world of postwar art it was a substantive addition. Artists included Peter Alexander, Larry Bell, Billy Al Bengston, Judy Chicago, Joe Goode, Robert Irwin, Craig Kauffman, John McCracken, Kenneth Price, DeWain Valentine...

'Positano' , Amalfi Coast of Italy. Signed original mixed media painting by Andy Gradwell circa 2005. mixed media on paper 50cmx 60cm Glazed wooden frame with limewax finish 80cm x...

Marianne Kolb (born 1958 in Bern) is a self-taught Swiss painter currently living in the United States. She is known for her emotionally-charged figurative paintings that address the human condition. Kolb paints directly onto canvas with her hands, placing her figures in isolation on a monochromatic...

Amitabh Sengupta - History Wall White - 33 x 34 inches (unframed size) Oil on canvas ** This work will be shipped in roll form to save on shipping cost. Mythscape Series : This ...

Bold geometric abstract painting by Nick O'Connor (American, late-20th Century). Signed, numbered, and dated "#1 Nick O'Connor 2002" on verso, with an inscription that reads "Hinduis...

Artist: Chris Gallagher, American Title: Train Year: 2000 Medium: Oil on Canvas, Signed and Titled on Verso Size: 36 x 22 inches An original oil painting by Contemporary artist, C...

Miniature paper collage by Michael Pauker (American, b. 1957). Titled/numbered, initialed, and dated on verso. Acquired with a collection of his work. Presented in a new mat with foa...

Somenath Maity - Structures - 40 x 40 inches (unframed size) Oil on canvas The frame is a part of the work, the work will be shipped in a crate. Style : Somenath Maity is self-professedly an artist of urban environments and cultures. Called avant-garde and unconventional for his landscapes, this artist’s favourite occupation is to find the inner beauty that exists in every big city and that most people don’t see or bother to look for, and then express it in his abstract oils on canvas. Maity builds up his paintings, all aptly titled structure, one brush stroke at a time, almost as an architect would work on a blueprint for a building. Maity’s colors and textures are strong, bringing to the forefront the life of the urban sprawls that he paints, and investing them with a force that works beyond the life of their inhabitants, keeping them ticking no matter who comes or goes, lives or dies. About the Artist and his work : Born : 1960 in Midnapore, West Bengal. Education : 1980-85 : Diploma in Fine Arts, Indian College of Arts and Draftsmanship, Kolkata. 1979-85 : Fine Arts, College of Visual Arts, Kolkata. Solo Exhibitions : 2011 : ‘Structures’, Tao Art Gallery, Mumbai . 2008 : ‘Structures’, Gallery Sanskriti, Kolkata . 2006 : ‘Structure: Cityscape’, organized by Mahua Art Gallery at Leela Galleria, Bangalore. 2004 : Tao Art Gallery, Mumbai . 2002 : Barn Gallery, Henley, UK . 2002-01 : Karnataka Chitrakala Parishath, Karnataka . 1999 : Jehangir Art Gallery, Mumbai . 1998 : Birla Academy of Art & Culture, Kolkata . 1989 : Tagore Art Gallery, Kolkata. Group Exhibitions : 2008 : 'Spirit of Abstraction', Mahua Art Gallery, Kolkata & 'Structure and Mystic Space', Tamarind Art, New York in collaboration with Time and Space Gallery, Bangalore . 2007 : ‘Emerging India’, organized by Art Alive Gallery, New Delhi and S.A. Fine Arts, London at Henry Moore Gallery, Royal College of Arts, UK . 2005 : ‘Sculpture Square’, Lasalle- Sia College of Art, Singapore . 2003 : `Art Access ‘ organized by Birla Academy of Art & Culture, Mumbai & Art for Chitrakala Parishath , Bangalore organized by FORHD . 2002 : East Zone Regional Exhibition, Centre for International Modern Art (CIMA), Kolkata & All India Fine Arts and Crafts Society (AIFACS), New Delhi . 1984 : ‘Gitanjali to Pather Panchali...

Test Pattern 12 (Grey study) (Abstract painting) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as ...

Andisheh Avini Iranian-American (b. 1974) Untitled III (2007) Collage of Arabic or Persian Islamic calligraphic script texts. Artist shaped frame Signature stamp and I-20 (New York) ...

"Apollo" Chase Finlay Ballet Dancer - Figurative Abstract on Paper This dynamic figurative abstract painting by Marc Foster Grant (American, b. 1947) depicts ballet dancer, Chase Finlay, previously of the New York City Ballet, performing in the ballet, Apollo. He leaps into the soft blue air, with a shimmering golden lute held high above his head. Apollo is a neoclassical ballet in two tableaux composed between 1927 and 1928 by Igor Stravinsky. It was choreographed in 1928 by twenty-four-year-old George Balanchine, with the composer contributing the libretto. The scenery and costumes were designed by André Bauchant...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

Steven H. Rehfeld (American, born 1954) 'Untitled' 2001 Oil paint, wood panel, wood The artist signed the back of the painting. Untitled, an exquisite artwork by Steven H. Rehfeld, ...

Dynamic, heavy impasto abstract expressionist scene by unknown artist Joy W. (American, 20th Century). Titled, signed and dated on verso "Joy Wxxx" Spring 2002. Presented in a custom...

Remembering Success 48”x48” Oil on Canvas Abstract Art Red Bold Colors. As life often does, the life of Marilyn Biles has come full circle since her life as a fashion illustrat...

Positano, original signed painting by Andy Gradwell circa 2005 watercolour and pastel on paper 26cm x 36cm white glazed frame 43cm x 53cm An abstracted view of the coastal town and l...

This painting is an exceptional abstract work by the noted Argentine artist Delia Solari (1940-). The painting is titled Ritmico III (Rhythmic III in Engl...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

This blue and yellow minimalist abstract by Cora Van measures 47.5" x 39" and is executed in acrylic on canvas. Hanging mounts are installed for both vertical and horizontal orientat...

The picture was painted as the second part of the “Musician” diptych. The violin's music gains weight and visual expression, mixing with autumn leaves and notes and it all becomes an...

An original encaustic and collage on canvas by American contemporary painter Mark Lavatelli.

Untitled Blue (Abstract painting) Acrylic on canvas - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositi...

Santa Barbara California Blue Yellow Green Modern Abstract Landscape Painting Art measures 30 x 22 inches Margaret Francis received her Degree in Fine Art from Winchester Art...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

From his show Hashish at Michael Steinberg Gallery (bearing their label verso) Reviewed by Roberta Smith in the New York Times. Abstract Expressionism meets graffiti photography. Cy Twombly in cyberspace. Existential physics. The trajectories of car bombs. These phrases came to mind at the show of Dennis Balk's new work, made during the last three years while he lived in Bahrain and traveled primarily in the Middle East. The show is dominated by black-on-white gestural drawings on canvas from Mr. Balk's Faith Thumbnail series. Full of graphic and even painterly nuance, they turn out to have been made completely on the computer. In a smaller room, the Exhausted and Ideographic series features gaudy, vertiginous digital mixes of colorful photographs. Originally a performance artist, he became known in the art world in the early 1990s for improvisational diagrams that brought different historical narratives into collision. One work in his solo debut at American Fine Arts in SoHo in 1992 charted the lives of Ho Chi Minh and Abraham Lincoln -- both fathers of their countries in different ways -- across white paper napkins. His 2003 exhibition at that gallery was titled ''Particles + Waves With Plausibility,'' as is a recent book of his work. Dennis Balk is an educator, visual artist, writer, media designer and playwright based primarily in New York. Balk has an MFA Degree from California Institute of the Arts. Throughout the 90s and 00s he was an Art Director and media designer for television, outdoor, print and emerging tech and social/ media at; Arnell/ Bickford Associates, Frankfurt Gipps Balkind, Foote Cone & Belding and McCann Erickson, New York. At Amster Yard, the conceptual agency within McCann Worldwide, Balk was involved in concepting high-profile campaigns that ran both domestically and internationally. As an interactive and exhibition designer, Balk has designed significant exhibition work for; Princeton University (The Firestone Library), The National Building Museum (Washington DC), The Jewish Museum (New York) and The United States Holocaust Memorial Museum (Washington DC) in conjunction with the offices of James Ingo Freed. Balk has taught and lectured at a variety of Universities, most recently; UCLA in the Department of New Genres, the Università IUAV di Venezia, Yale University, Otis College of Art and Design- Public Practice MFA and as Coordinator of the Department of Fine Arts/ Computer Graphics at the New York Institute of Technology, Bahrain Campus. Since the late 80s his art work has addressed, in multiple formats (including several productions of his plays), the conditions of narrative and the narrative aspects of historicizing the present. His work has been exhibited internationally and reviewed extensively including; Artforum, Filosofia e Questioni Pubbliche, Bookforum, Art in America, Paper Magazine and The New York Times. While in New York, his primary gallery representation was with the seminal gallery, American Fine Arts. In February 2009, INOVA at the University of Wisconsin-Milwaukee presented the early work survey titled, “Dennis Balk - Early Work 1890-2090”. His recent publications include; “Dennis Balk/1890-2090” (2010-channel 171), “Dennis Balk The Arabian Gulf” (2010-channel 171), “ash” (2009-channel 171), “Colin de Land, American Fine Arts” (2008-powerhouse books), and “particles + waves with plausibility” (2006-powerhouse books). SELECTED BIBLIOGRAPHY 2011 Jack Bankowsky, Rosetta Brooks, Ingrid Schaffner, Nicholas Frank, Christina Valentine, Dennis Balk, Jennifer Bolande...

Ellen Hackl Fagan creates works of art focused on building a visual language. Primer is a large acrylic on canvas painting that was painted during the attacks on NYC on 9/11. She used the alphabet as a metaphor, as a way towards communicating anew with one another. The alphabet is a recurring theme in Fagan's work, ranging from interactive, ColorSoundGrammar works to painting, sculpture, lost languages...

Acrylic and pumice on tuile; sail, netting, sacking, ripstop and canvas - Unframed. Anthony Frost, son of Sir Terry Frost RA, is an English abstract artist whose vibrant, colorful p...

Three Figures, Contemporary Cosmic Abstract Expressionist Visionary Figurative Wonderful large-scale abstract expressionist of cosmic figurative in pink and blue tones by San Franci...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, emptiness and form. The imagery in her paintings is often associated with molecular and galactic systems. ...

Wonderful large scale mixed media abstract by Elliott Fouts (American, b. 1955), 2000. Titled "Straight up" and signed on verso. A channel of green orbs...

Roman Landscape is an original contemporary artwork realized in the 2000s by the Italian Contemporary artist Franco Ferrari. Original mixed media painting. Acrylic on canvas. Orig...

Grigio Naturale 05 is a hypnotic abstract painting realized by the contemporary artist Li Lei in 2007. This vertical original artwork represents an abstract co...

Tats Cru, Inc. / Nosm Untitled, 2004 Acrylic and spray paint on canvas 24 x 30 in. Signed verso Tats Cru, Inc. is a group of Bronx-based graffiti artists turned professional muralists.[1] The current members of Tats Cru are Bio, BG183, Nicer, HOW, and NOSM. Tats Cru were founded by Brim, Bio, BG183 and Nicer. Over the last two decades, Tats Cru has produced various advertisements for clients ranging from neighborhood businesses and institutions to large corporations like Coca-Cola and Sony.[2][3] Tats Cru is also a major producer of New York City-style memorial murals, and have created artwork for many musicians including Nicki Minaj, Missy Elliott...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, emptiness and form. The imagery in her paintings is often associated with molecular and galactic systems. ...

Whimsical abstracted textural still life with three daises and other objects floating through an ambiguous orange space by Daniel David Fuentes (American, 1978-2016). From a collecti...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

Yetti by Joseph Conrad-Ferm, 2008 Mixed Media 54 × 51in 137.2 × 129.5cm

Part of Gradwell's exstensive mission to paint Meditterean light and landscape. His journey painting can last one week to 3 months. Every location is about the essence of place. Expe...

Skeleton Key by Joseph Conrad-Ferm, 2007- 2008 Mixed Media 50 × 48 in 127 × 121.9 cm

Paul Manes was born May 4, 1948, in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and Europe and h...

Introducing a beautiful acrylic painting on masonite by the Danish artist, Anette Holmberg. Anette Holmberg (1969-) is a visual artist from Denmark (Scandinavia) with a master's de...

Artist: Petra McCarthy, British Title: Yellow Abstract Year: circa 2005 Medium: Acrylic on Canvas with Painted Plexiglass Size: 40 x 40 x 3 in. (101.6 x 101.6 x 7.62 cm)

Provenance: Babcock Galleries (bears their label verso. signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

La Sortie 2 Pierre Marie Brisson, French (1955) Date: 2001 Oil on Canvas, signed lower right and dated verso Size: 31 x 31 in. (78.74 x 78.74 cm) Provenance...

Provenance: Babcock Galleries (bears their label verso.) signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

Illegibly signed, titled and dated verso. angular abstract geometric painting in a graffiti, street art stye.

Very nicely painted Venice view by Tim A Lovejoy (Born 1943). Watercolor and gouache on paper. Signed. Framed. Image size, 16H x 25L.

Large-scale oil painting by Bay Area artist Michael Pauker (American, b. 1957). A series of grids and swirls create and industrial feeling landscape, as if the viewer is looking out ...

A striking, large-scale contemporary surreal figurative abstract by Bay Area artist Michael Pauker (American, b. 1957). Titled "A Disturbance in the Force" on verso. Signed "Michael ...

Silence. Cardboard, acrylic, 60x70 cm Abstract composition

Abstract inspired by natural elements. My abstract paintings are all about creating excitement for the viewer through concentrated exploration. Each painting is inspired by nature, t...