Yvette Cohen

Yvette Cohen, Cutting Space #3, 2015, Minimalist, Oil, Acrylic on canvas

2015

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Seeking the Sound of Cobalt Blue is a series of paintings on large sheets of rag paper that have been created since January of 2014. Using domestic construction materials from her ...

My work bridges the divide between sculpture and painting and drawing. Paintings are geometric masses of color in oil paint and wood dowels, on shaped canvas. Often grouped in d...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Johnnie Winona Ross Deep Creek Seeps 10, 2007 Oil paint on acrylic base burnished on Belgian linen Signed twice, dated and titled on the verso; also bears the original Stephen Haller Gallery label\ Canvas is stretched against wooden backing but no outer frame This work was originally sold by the Stephen Haller Gallery which hosted several critically acclaimed, sell-out shows of New Mexico resident Johniie Winona Ross, whose exquisite Minimalist aesthetic really took hold with collectors. The debt to famous New Mexico resident and Minimalist goddess Agnes Martin is obvious, but Winona Ross has a disctinctive style and technique of his own. The process of creating this work was laborious: Ross typically applies as many as 90-100 layers of paint to each canvas, then scrapes the surface with a straight-edged razor to reveal the many layers (and their chronology), and finally burnishing the surface with a Pueblo pottery stone to achieve a soft gloss. Maureen Mullarkey of Studio Matters wrote in 2010: THE LOVELINESS OF JOHNNIE WINONA ROSS' paintings elude translation into either reproduction or verbal description. In 2011, ArtDaily published this announcement from Stephen Haller, publicizing a later exhibition: "Washington Post critic Stephen Parks characterized Ross’s work in this way: “From a distance his canvases appear to be simple, minimal constructions of horizontal stripes with hints of vertical color in the background. Up close the paintings are seen to be extraordinarily beautiful and complex objects that induce a humming meditative state.” Ross grounds his work in the inspiration of the desert of the American Southwest, and borrows techniques from ancient Native American sources, melding them with a distinctly sophisticated and utterly contemporary vision. His use of the Native American technique of burnishing pigment and minerals with a potter’s stone to create a hard surface with a visually warm sheen creates an effect reminiscent of the softening of marble steps...

Acrylic and oil on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intu...