Monotype Paintings

Monotype and watercolor on paper 30 x 22 inches 33 x 26 inches Framed About the Artist: Eunju Kang was born and raised in Daegu, Korea, and moved to Cali...

Vivid monotype abstract by artist Sue Shaffer, 1995. Titled: El Sueño. Signed and dated lower right. Original artwork on paper displayed on a white mat with a gold border. Archival ...

"Crucifix" is an abstract Post War oil over monotype painting by Hans Burkhardt in 1981. The artwork is 11 x 7 5/8 inches and, with the frame, is 14 1/4 x 10 3/8 x 3/4 inches. It is ...

Monotype print.

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 103 × 94 cm. Frame size: 119 × 109 x 5 cm. Acquired directly from the artist. Free shipme...

Monotype print.

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 102×77 cm. Frame size: 117 × 93 x 5 cm. Acquired directly from the artist. Free shipment w...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Clinton Storm was born in Grand Rapids, Michigan and received his bachelor of fine arts from the University of Michigan. He has shown in numerous solo an...

Cloud Ocean 3 captures the essence of a shifting tide—fluid, contemplative, and textural. Warinner uses printmaking to evoke the interplay between ocean and atmosphere in soft gradie...

Cloud Ocean 1 is a meditative monotype on paper by Katherine Warinner, where organic textures and flowing forms evoke sea spray, mist, and cloudlight. Cool hues of ultramarine and sl...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 99 × 102 cm. Frame size: 114 x 117 x 5 cm. Acquired directly from the artist. Free shipm...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 104 × 78 cm. Frame size: 119 × 93 x 5 cm. Acquired directly from the artist. Free shipmen...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 103 × 75 cm. Frame size: 118 × 90 x 5 cm. Acquired directly from the artist. Free shipmen...

Darren Vigil Gray (b. 1959, American) Title: "Glimpse of a Horse" Medium: Monotype Print on Paper Dimensions: 27" x 39" framed Markings: Signed in Pencil LR "Darren Vigil Gray" ...

Monotype on paper Federica Frati is an Italian artist born in 1977 who lives lives and works in Brecia, Italy. She is graduated from art school Foppa where she learned the main arti...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 103 × 84 cm. Frame size: 118 × 99 x 5 cm. Acquired directly from the artist. Free shipmen...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 103×89 cm. Frame size: 118 × 104 x 5 cm. Acquired directly from the artist. Free shipment ...

Artist Commentary: This work is part of a portfolio of art inspired by my summer trip to a totem pole nature center in Alaska in 2013. Rich Colors, ...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 104 × 63 cm. Frame size: 119 × 78 x 5 cm. Acquired directly from the artist. Free shipment worldwide. “I paint because painting is a private Utopia,” Erró writes of his art. The landscapes in Erró’s work are a constantly changing kaleidoscope of images, multivalent and mysterious, not infrequently controversial, bursting with life – and titillating, too! There is room in his pictures for both paradise and visions of fear. Erró is the alias of Gudmundur Gudmundsson, born on 19 July 1932 in Olafsvik, in north-western Iceland. Since Gudmundur first became enthralled by pictures of works of art in a catalogue from the Museum of Modern Art in New York at the tender age of ten, painting has been his passion and his mission in life. He was accepted into art school in Reykjavik as a 19-year old, subsequently complementing what he had learned there with further studies in Oslo. Erró travelled extensively in Spain, Italy, France and Germany in the 1950s, studying at the Florence Academy of Art in 1954 and at the School of Byzantine Mosaic Art in Ravenna in 1955. It was around this time that he began to exhibit his works, first and foremost in Paris, where he chose to make his home in 1958. During the 1960s he established contact with the Swedish museum director Pontus Hultén, who encouraged him and took him under his wing. Over the years Erró has taken part in hundreds of exhibitions and today his works are on show in museums all over the world, including the Centre Pompidou in Paris. Erró’s pictorial world is peopled by comic-strip characters and autocratic despots alike. Donald Duck with his Daisy, Chip & Dale, and other Walt Disney creations are unselfconsciously juxtaposed with Greek gods and madonnas. Elsewhere the German dictator Adolf Hitler stands shoulder to shoulder with his Iraqi counterpart Saddam Hussein...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 80 × 104 cm. Frame size: 95 × 119 x 5 cm. Acquired directly from the artist. Free shipmen...

Monotype & collage on paper Federica Frati is an Italian artist born in 1977 who lives lives and works in Brecia, Italy. She is graduated from art school Foppa where she learned the...

Clinton Storm was born in Grand Rapids, Michigan and received his bachelor of fine arts from the University of Michigan. He has shown in numerous solo an...

“Robber” by artist Mary Spencer is a 22.5 x 30 inch surreal mixed media painting on paper with dominant colors of blue, red and green. The painting is signed on the front and back. ...

Unique. Monotype on canvas. 1/1 ex. Signed,titled and dated at the verso. Artwork size: 102 × 85 cm. Frame size: 117 × 100 x 5 cm. Acquired directly from the artist. Free ship...

INTO THE WILD Size: 29 x 23.5 cm (including frame) Monotype on paper A unique abstract monotype by contemporary British artist Frances Daws, dated 2022 and beautifully presented in ...

Clinton Storm was born in Grand Rapids, Michigan and received his bachelor of fine arts from the University of Michigan. He has shown in numerous solo an...

Clinton Storm was born in Grand Rapids, Michigan and received his bachelor of fine arts from the University of Michigan. He has shown in numerous solo an...

In Sanskrit, zero was sunya, emptiness, with its implication of a qualityless layer that exists behind all appearances. Its root, vi, to swell, connotes that is a receptive womb, a p...

I will meet you there, back in the eternal cosmic waters. Angelica’s multi-layered works are informed by her ongoing efforts to create a less reactive and more responsive presence i...

13x22" image size monotype, unframed. Shrink-wrapped on poster board, paper size total 22x30". I document the essence of the landscape everyday. I am interested in those untouched v...

13x22" image size monotype, unframed. Shrink-wrapped on poster board, paper size total 22x30". I document the essence of the landscape everyday. I am interested in those untouched v...

13x22" image size monotype, unframed. Shrink-wrapped on poster board, paper size total 22x30". I document the essence of the landscape everyday. I am interested in those untouched v...

Artist Commentary: This work is part of a portfolio of art inspired by my trip to Alaska in 2013. About the artist: Monice Morenz was introduced to...

Sketches IX Monotype print Natasha Karpinskaia's paintings are characterized by their vibrant colors, bold shapes, and dynamic compositions. She uses a variety of media, including a...

I primarily paint on location, en plein air. Direct observation allows me to translate the light and color of a particular location as I try to capture a specific point in time. The ...

"She is the dark night and the black soil that holds within itself the intense power of light, the secrets and the forces of all life. She is the mouth, the vagina, the passionate an...

Artist Commentary: Together Apart It’s a CoronaVirus pandemic reality of the world! We are all in this together but to be safe we must be ...

About the artist: Oi Fortin is an award-winning monotype printmaker, working in New Haven, CT, USA. Her contemporary abstract expressionist prints are notable for a vivid palette and...

Artist Commentary: The work in the Alaskan Portfolio was inspired by a summer trip to Denali in 2013. About the artist: Monice Morenz was introduced t...

Winter Dawn, 2020 18" x 24" (HxW) Original Abstract Monoprint A unique print by artist Oi Fortin. A field of undulating blue is speckled with brown dots and...

Artist Commentary: This image called, "Flower Scape," is one of my favorite images. It is perfectly seasoned with spring coming right around the corner. The colors are very well exe...

Artist Commentary: Camouflage For survival animals would camouflage to its environment. Would it be interesting if our skin color can change to whatever we want? About the artist: ...

Artist Commentary: This new series of Monotype collage are my latest and exciting project. I use my monotype background to start, then added cutouts from other media. It's fun and addictive to make! Enjoy. About the artist: Oi Fortin...

I primarily paint on location, en plein air. Direct observation allows me to translate the light and color of a particular location as I try to capture a specific point in time. The ...

Artist Commentary: This work is part of a portfolio of art inspired by my 2013 summer trip to the magnificant Mt. Denali in Alaska. About the artist: Monice Morenz...

I primarily paint on location, en plein air. Direct observation allows me to translate the light and color of a particular location as I try to capture a specific point in time. The ...

"Check Your Likes," is a contemporary work on paper by artist Vivian Liddell. This gestural conceptual piece creates room for the conversation of the current social media based world...

"Friend Ship Carry Me" is a text-based conceptual contemporary work by artist Vivian Liddell. This piece has intricate deliberate details scattered throughout. Liddell often walks th...

"Green Glow" is a neon work on paper contemporary abstraction by artist Vivian Liddell. Similar to other works, Liddell uses a subtraction method of removing paint to create the path...

"Sarlacc Rising," is an abstract expressionist mixed media by artist Vivian Liddell. This piece is a representation of a Sarlacc, giving abstract expression to a fictional character....

Liddell often walks the line between contemporary art and craft. Working to bring materials that are traditionally labeled as "craft" and lesser into the contemporary conversation. Mixing craft with one of the most respected and oldest forms of fine art, painting, really encourages the viewer to view the two on the same playing field. The idea of craft is settled into these gestural, layered works, constantly critiquing contemporary culture. This piece is not framed, but we are able to work with a framer local to you in order to have it framed and ready to hang. We can also frame it before shipment. For new listings, more work by Liddell and sales, please follow our storefront at Gallery 1202. "As a painter, I often work on large, raw canvas. My abstract paintings merge formal painting and “bad” craft to challenge the high-low separation of materials (and related gender hierarchies) that have traditionally been present in the art world. The monotypes are like a calligraphic practice. I use them as a warm up to allow me to feel confident with a gesture before committing it to a larger scale. I work in layers, often sewing or incorporating fabric into the finished piece, and incorporate chance into each stage of my process. The text/titles often come from song lyrics, local radio commercials, and news headlines. I edit these snippets and piece them together to reflect my interpretation of current politics and social norms, especially as they relate to gender." Vivian Liddell is an interdisciplinary artist in Athens, Georgia who works with painting, fiber and craft techniques, sculpture, printmaking, photography, animation and sound. Born in Memphis, Tennessee, she received her BFA from the University of Georgia and her MFA from the Pratt Institute in Brooklyn. Liddell’s work has been featured in solo and curated exhibitions throughout the United States, including at the Wiregrass Museum of Art, the Macon Museum of Arts and Sciences, and Trestle Gallery in Brooklyn. In 2019 she had two solo exhibitions of her “Men” series at the Versa Gallery in Chattanooga and 621 Gallery in Tallahassee, with a review of the Versa exhibition in BURNAWAY and was recently picked by Berlin curator Tina Sauerlaender as a featured artist on Foundwork. Liddell hosts a podcast (Peachy Keen) as an extension of her art practice, interviewing women on art and the South. She is an Assistant Professor of Painting and Drawing at the University of North Georgia...

"Star Fuckers," is an abstract expressionist multi media colorful work by Vivian Liddell. In this piece she explores different techniques of adding and subtracting paint to create th...

The ladder enables the soul to climb to the hereafter where the ancestors reside. It is a means of ascending or descending to places otherwise inaccessible. In the shamanic tradition...

I primarily paint on location, en plein air. Direct observation allows me to translate the light and color of a particular location as I try to capture a specific point in time. The ...

Colors have long been known to have psychological and emotional effects, and in the past months, using the calming color blue has been a therapeutic self-treatment. Blue is the color...

Artist's Statement Having lived on nature preserves and near the ocean the majority of my life, the health status of the environment in which we live is of utmost importance to me. ...

Artist's Statement Having lived on nature preserves and near the ocean the majority of my life, the health status of the environment in which we live is of utmost importance to me. ...