Metal Figurative Paintings

Jack Rosenberg Three Graces, 2023 oil on aluminum panel 48 x 36 in.

🔸 _Title: Geppetto’s GPT Awakening 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 97 W x 130 H x 2.5 D cm 🔸 _Medium: Acrylic, enamel, spray paint, oil paste...

Small artwork makes a big statement. This intimate piece of original artwork on board features intricate details and a strong composition. The oversized matte draws attention to the delicate artwork framed in a modern and dramatic way. Consider making it part of a salon wall with complimentary pieces or give it its own dedicated space. Comes professionally framed with non-glare glass. // Andrea Stajan...

Small artwork makes a big statement. This intimate piece of original artwork on board features intricate details and a strong composition. The oversized matte draws attention to the ...

Persona Triptych Trilogy Oil Painting and Gold Leaf on Panel In Stock Candace Charlton Born in Durban, Natal, 1968 - South Africa Attended the Johannesburg School of Art, Ballet, Drama and Music from 1983 until 1986. Having received two scholarships she continued her studies at the Rhodes University in Grahamstown where she finished her Bachelor of Fine Art, majoring in Sculpture and Art History. During this period she took part in various exhibitions and competitions: In 1989 she exhibited in Port Elizabeth...

Faithful Portrait Oil Painting and Gold Leaf on Canvas In Stock Candace Charlton Born in Durban, Natal, 1968 - South Africa Attended the Johannesburg School of Art, Ballet, Drama and Music from 1983 until 1986. Having received two scholarships she continued her studies at the Rhodes University in Grahamstown where she finished her Bachelor of Fine Art, majoring in Sculpture and Art History. During this period she took part in various exhibitions and competitions: In 1989 she exhibited in Port Elizabeth...

Bon Voyage (Paper Planes) is a mixed media painting (acrylic, gold enamel, charcoal, pencil and ink on archival cotton paper, signed 'afn' lower right and framed in a contemporary black moulding. Anne...

"Peekaboo Bitch" Painting (FRAMED) 24" x 18" inch by Isaac Pelayo Medium: Oil, oil stick, aerosol, and liquid gold on wood panel Comes in frame (wood & gold leaf) Size framed: 30" ...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

"Rebirth" is a compelling artwork created by Dennis Onofua, showcasing a young woman in a standing posture. The title suggests a powerful theme of transf...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about feeling, she creates magic and captures the moment by infusing her art with strong emotive qualities. Zabel communicates each scene with precision. Her work evokes the Impressionists, but depicts modern love...

Signed verso. As Darsney’s work has developed, his compositions and influences have evolved. An auto-didactic artist, Darsney draws inspiration from a variety of sources, including The Boston School and iconic masters such as Vermeer, Rembrandt and Degas. These artists’ attention to detail and adherence to classical ratio, coupled with Darsney’s own innate sense of structural integrity, inform his vision. He is also particularly influenced by the art on view in Boston museums and collections as seen here with his portrayal of The Daughters of Edward Darley Boit...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about ...

The Order of the Heart in the Hand is a mixed media painting (acrylic and gold enamel on hand-aged canvas) with a canvas size of 48 x 48 inches, signed 'afn' lower center and framed in a contemporary black moulding. Anne Faith...

Bon Voyage is a mixed media painting (acrylic, gold enamel, charcoal, pencil and ink on archival cotton paper), with an image size of 14 x 10.5 inches, signed 'afn' lower right and framed in a contemporary black moulding. Anne Faith...

Looking Out from Within: Buffalo is a mixed media painting (acrylic and gold enamel on canvas) with a canvas size of 60 x 48 inches, signed 'afn' lower right, and framed in a contemporary white moulding. Anne Faith...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

"Rebirth" is a compelling artwork created by Dennis Onofua, showcasing a young woman in a standing posture. The title suggests a powerful theme of transf...

"In Times Like This" is a touching artwork created by Dennis Onofua, portraying two young women embracing each other in a warm and comforting hug. This a...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Fahamu Pecou is a visual artist and scholar whose works combine observations on hip-hop, fine art and popular culture. Pecou’s paintings, performance art, and academic work addresses...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

The Painting and Its Style: "Tulip Mania" This painting is a prime example of Neo-Expressionism, a movement in the arts that emerged in the late 1970s and is characterized by its bo...

Kapil Anant - Indian Culture Ink, Acrylic and Gold Foil on Paper 8.3 x 11.8 inches , 2023 ( Set of 4 works ) Kapil Anant was born in 1998. Completed B.F.A from College Of Arts Delh...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Indira with red hair by Efren Isaza Archival pigment print Measures: 58.5 in. H x 46 in. W Mounted on aluminum/plexiglass Isaza, one of Colombia’s most influential fashion photogra...

LOOK FOR FREE SHIPPING AT CHECKOUT OR GALLERY RATE A Boy and His Dog shows the hyperrealism of modern Cuban art that is now available to the world...

Karoline Kroiß (1975), born in Austria, mainly paints realistic female figures with acrylic paint on paper or canvas. The women in her work seem to be lost in thought, serene scenes...

Halo presents an amazing cast of historical black figures, most of whom were legendary and mythic characters in their time, but have been nearly lost to the vagaries and biases of hi...

The artwork is oil paint on a silver leaf background. Gordon has created a modern exciting twist on a skull. Biography Irish contemporary painter...

Halo presents an amazing cast of historical black figures, most of whom were legendary and mythic characters in their time, but have been nearly lost to the vagaries and biases of hi...

Halo presents an amazing cast of historical black figures, most of whom were legendary and mythic characters in their time, but have been nearly lost to the vagaries and biases of hi...

FREE SHIPPING AT CHECKOUT Joan Amid Narcissus is a new painting by artist Honora Jacob. Also included in the images are two other paintings that were recently completed. Here is an ...

The G.O.A.T. (2023) by east coast street artist Sean 9 Lugo Ink, acrylic and marker on paper and mixed media on reclaimed vintage metal street sign...

This work is from the artist's SOCIAL series, based on the iconic Cuban magazine of the same name. Conde, uninterested in painting his home town of Havana as it currently is, hearkens back to the heydays of Cuba, time of SOCIAL magazine. Conde has revived SOCIAL magazine, if only in his head, and is creating 240 new covers for the magazine. He will symbolically close the magazine on the date of the revolution. The artist often uses gold, silver and palladium leaf in the works to symbolize the power and wealth which Cuba once possessed. In this work, SOCIAL "I", a stylized woman from a bygone era has plucked the silver I from the word SOCIAL, in the background the pattern is representative of the ever present Cuban tiles.

New Year (2023) by east coast street artists Sean 9 Lugo Ink, acrylic and marker on paper and mixed media on reclaimed vintage metal street sign...

Sax Berlin has such mastery over his craft. This piece is exceptional, there's beautiful imagery, sumptuous colour, and the Wise Women. Berlin has mixed beauty, strength and mythos i...

Kobe (2023) by east coast street artist Sean 9 Lugo Ink, acrylic and marker on paper and mixed media on reclaimed vintage metal "Speed Limit 25" street sign depicting Kobe Bryant we...

Edward 40 Hands (2023) collaborative piece by east coast street artists Sean 9 Lugo and City Kitty Ink, acrylic and marker on paper and mixed media on reclaimed vintage metal STOP s...

Catch, 100cm

This is artwork is oil paint on a silver leaf background. It is entitled Sapphire Metallic Skull. Biography Irish contemporary painter, Gordon Ha...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about ...

A stark and powerful painting, it immediately attracts attention. Berlin has revisited the skull motif in this piece of Neo-Expressionist art to sublime effect. The painting is a mas...

The Things U Do (2023) by east coast wheatpaste and street artist Sean 9 Lugo Ink, acrylic and marker on paper and mixed media on reclaimed metal diamond shaped street sign depictin...

Kapil Anant - Incredible India Ink and Gold Foil on Paper (Mixed Media) 8.3 x 11.8 inches ( Set of 15 works ) , 2023 Kapil Anant was born in 1998. Completed B.F.A from College Of Arts Delhi India Previous Attend Group Exibition : Previous Gallery's. 2017 - Aifacs Art Gallery(Delhi), Minarva Art Gallery ( Dehradun),Tansen Art Gallery Rang of Vision (Gwalior),Znnual Art Gallery (Punjab ),Jawahar Kala Kendra (Jaipur), Shree Ganesh Art 20 Gallery 2018-(mountabu),Gandhi Art Gallery (Delhi),Hudko Art Gallery (Delhi) 2021- Champatree Art Gallery (Delhi) Kalakriti Art Gallery (Haydrabad), Morden contemporary Gallery Kolkata...

FREE SHIPPING AT CHECKOUT The Secret Keeper 40" x 30" oil gold metal leaf on canvas is a new painting by artist Honora Jacob. Also included in the images are two other paintings that were recently completed. Here is an article that goes into detail about her new series of paintings. How they’re dressed...

The Things U Do (2023) by east coast wheatpaste and street artist Sean 9 Lugo Ink, acrylic and marker on paper and mixed media on reclaimed metal diamond shaped street sign depictin...

This unique painting begins with her new ZIGZAG series in which we can see her surrealist airs shared with her colleague and ex-husband Pedro Friedeberg, like all the works of art by...

Northwoods, 2001. Signed and dated Military Enamel, Watercolor, Glitter, Decal, Aluminum Paint on Aluminum. Bears a label from Angles Gallery verso. Tom LaDuke (born 1964) is an Am...