Early 2000s Art

This is an Iris print in soft yellow and red tones. It is signed and numbered. The total edition size is 72 plus 18 APs. "Calling to mind the work of Martin Puryear, Paul Klee, Alex...

Title: British Impressionist Watercolor of Countryside Cottage with Rolling Fields by Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 10....

Medium: Serigraph Image Size: 12 x 12 inches Edition size: 12 Year” 2001 Skulls and skeletons are a common theme in Chicano and Mexican art, especially in relation to the Day of the Dead celebrations. Throughout his 40 year career as an artist, Frank Romero has been a dedicated member of the Los Angeles arts community. As a member of the 1970s Chicano art collective, Los Four, Romero and fellow artists Carlos Almaraz, Beto de la Rocha...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

Multi Portrait Abstract Expressionist On Surfboard Signed, horizontal and vertical. Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhoo...

Vases and fruits is an original oil painting realized in 2006 by Zhang Wei Guang (Mirror). Beautiful oil painting on canvas. Includes frame. Hand-signed and dated on the back Zh...

This is a silkscreen and woodcut print created in 2007. It is signed and numbered in graphite from the edition of 118 (plus 18 APs). This print comes directly from the publisher, Lin...

'Telephone VII' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography featuring a vintage telephone on a nightstand combines gorgeous pastel c...

Title French Abstract Landscape Study in Soft Greens and Greys, Oil on Paper Key Details Artist: Yvette Dubois-Habasque (French, 1929–2016) Medium: Oil on heavyweight paper Size: 19....

Edition of 15 Signed, dated and numbered. Paper size: 30 x 26 in., Image size: 28 x 23 in. Frame NOT included. Chema Madoz is one of the most important contemporary Spanish photogra...

"The Spirits of Stonehenge" is an original fine-art photograph by Robert Kawika Sheer. The image is signed in the lower right and editioned in the lower left. Edition 51/250. The ima...

Don't miss this opportunity to own a piece of history! Ex Nihilo Figure 4, a full-scale plaster from the final stone sculpture of Ex Nihilo, commissioned as part of the Creation Scul...

Raf Peeters is a Belgian artist represented by Boycott Gallery.

The Blue Bed is an interior, environmental portrait by living artist and Pennsylvania Impressionist, Glenn Harrington. The oil on board painting is 8" x 14" in size, framed, dated, a...

Land Battle - Antonio Savisio Italia 2006 - Oil on canvas diam. cm. 30 Gold leaf gilded and laquered wooden frame cm. 47x47 Maestro Antonio Savisio drew inspiration from the masterp...

Title: British Impressionist Watercolor of Horse Riders on a Country Lane By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 x 15.5...

Glass Furnaced in Murano, Venice. Afro Celotto was born in Venice, on Burano island, on August 24, 1963. Much quieter and less crowded than other Venetian islands, Burano is quite co...

Yayoi Kusama Tulipe (I), A.P. from the Edition of 60. Screenprint [8 screens, 8 colors, 11 runs]. Lamé [3 colors] Image: 45.5 x 38 cm. Sheet: 65x 50 cm. Provenance: Ravenel Art Auct...

Tulip Time, by Lu Haskew Oil 24x18" image size Floral Still Life Painting, Pink and Purple Tulips with Green Apples This painting is unframed, canvas on gator board, the price refle...

Lithograph realized by Yannis Kounellis in occasion of the Olympic Games of Beijing, China, in 2008. Hand signed and numbered, perfect condition. This work is from the portfolio Th...

Renowned French photographer Gérard Uféras is celebrated for his ability to capture the quiet, in-between moments that often go unnoticed. In this refined composition, he turns his l...

Palm Springs Poolside, photograph from Richard Heeps, Dream in Colour series. Classic mid-century Palm Springs architecture, featuring cool blue skies and swimming pool with accents...

'Hula Doll', from Richard Heeps 'Man's Ruin' Series, captured at Viva Las Vegas, this fun artwork has a cool kitsch vibe. The photograph itself has a lo-fi effect. This artwork is a...

"Le Retour (Return)" is a color lithograph after the original 1940 painting by Rene Magritte. A bird which is really just the sky in the day and clouds. A nest bellow the bird has th...

Mixed polymers on hand tooled tin panel. Ready for hanging. Tribes exemplifies Nakamura’s distinctive ability to merge myth, symbolism, and meticulous craftsmanship into a single, m...

Cosmos and Blue, by Lu Haskew Oil 20x24" image size Floral Still Life Painting of a Mixed Bouquet This painting is unframed, canvas on gator board, the price reflects that it is unf...

'Call Booth', photograph from Richard Heeps Salton Sea series. This cinematic neo-noir style picture shows the classic American roadside Phone Booth, something which we look at very ...

Erwin Pfrang, German (b. 1951) Graphite on paper Partner Exchange (2001) Framed 21 X 14.5 sheet 13.75 X 7.25 Erwin Pfrang (born 1951, in Munich) is a German painter and printmaker...

George Dannatt (1915-2009) Nocturne in Black 1995 Monoprint & gouache Fabriano paper Image: 17.6 x 12cm Frame: 37.1 x 30.7 cm Provenance: The Estate of George & Ann Dannatt/George...

Moss Landing Farm Landscape in Acrylic on Canvas Expansive farm landscape by a California artist (20th Century), Unknown. The viewer is low to the ground, in the middle of a tilled ...

Safe in the Harbor, by Lu Haskew Oil 30x20" image size Landscape Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping price i...

'A Wish II' (Circle of Magic) - from the 29 Palms, CA project - 2009 40x50cm, Edition 1/10 Digital C-Print based on the Polaroid. Certificate and signature label. Artist inventory...

Foxgloves from the Garden, by Lu Haskew Oil 24x16" image size Floral Still Life Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. S...

BLADES OF GRASS. The many subtle shades of green. :: Painting :: Abstract Expressionism :: This piece comes with an official certificate of authenticity signed by the artist :: Ready...

Venus. 2006. Oil on canvas, 66x183 cm Realistic woman act on drapery Normunds Braslinsh (1962) Born 1962 in Riga, Latvia 1980–1986 Latvian Academy of Art, Painting Department 1973–...

Cottage in Autumn Color, by Lu Haskew Oil 18x24" image size Landscape Painting This painting is unframed, canvas on gator board, the price reflects that it is unframed. Shipping pr...

Robert Indiana Pax, Paix, Shalom (The Peace Print), 2004 Silkscreen in 4 colors on rives BFK paper Hand signed, dated, titled and numbered 35/50 in pencil by Robert Indiana on the f...

Official poster designed and created for the tennis tournament held at Roland Garros French Open every year. The poster is a limited edition of 2000. First edition, unsigned and not ...

An ex libris print featuring the fantasy figure of an alchemist in her laboratory working with imaginary creatures looking on. Roman Sustov's prints often provide a fantastic blend of classic technique combined with images from the vast worlds of surrealism, eroticism, fantasy and fairy tales. Signed in pencil artists proof from the edition of 100. Roman Sustov was born in 1977 in Minsk, Belarus. In 1995 he graduated from Minsk Art College and six years later he graduated from the Belarusian Academy of Arts (Department of Graphic). Through this long training he has become a master in etching, lithography and linocut prints. His works can be found in collections in the USA, Germany, Netherlands, Poland, Ukraine, Japan, Russia and Belarus, and in the Contemporary Fine Art Museum (Minsk, Belarus). Roman notes...

Forevermore (Till Death do us Part) - 2005 24x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invento...

'Barton Broad' photographed by Richard Heeps in one of his favourite areas of Britain on the east coast in Norfolk. This peaceful almost monochrome landscape/waterscape creates a fee...

Untitled (Beachshoot) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 21395. ...

Thomas Nozkowski Untitled #2, 2008 Color etching with aquatint on Hahnemühle paper Signed and numbered 5/35 in graphite on the back. Die cut window flap on the back of the frame reve...

Camille Billops, 'Mondo Negro III', color etching, 2000, edition 20. Signed, dated, titled, and numbered '7/20' in pencil. A superb, richly-inked impre...

John Beerman, American (1958 - ) - Hook Mountain, Yellow Sky, Year: 2008, Medium: Lithograph, signed and numbered in pencil, Edition: PP, Size: 22.5 x 34 in. (57.15 x 86.36 cm)

Mascot, photograph from Richard Heeps' series, Man's Ruin. Captured at the Hot Rod Hayride this Jesus on a Cross, was meant to protect the Hot Rodders in their cars. There is somethi...

Large Contemporary Abstract Art "Cosmic Rainbow" on Canvas by British Artist by Contemporary British Artist. Symbolic visionary art from creative drawings, meditations & psychede...

Julie's Rabbit by Dan Ostermiller cast bronze rabbit sculpture, 4x7x4" #APJ Available (mold was destroyed so edition is complete) Shipping price includes the custom packing necessar...

Manchester Abstract Expressionist Art by Contemporary British Artist, Angela Wakefield - a rare early work. Entitled 'Jilly's, Manchester', this painting is from an intense body of s...

Between Words (Stage of Consciousness) - 2007 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024....

Andrea Belag Untitled, from the Lehman Brothers Art Collection, 2003 Watercolor monotype on paper Pencil signed and dated on the front Framed Gorgeous ...

Composición de escultura en bronce y serigrafía sobre papel con intervención manual realizadas por el artista FERNANDO BELLVER en el año 2004. Medidas de cada pieza: 50x44x30 cm (esc...

Work on canvas without frame. The work is signed and dated but artist is unknown from the gallery.

Hot Sauce, Lone Pine, California, photograph from Richard Heeps series Dream in Color. This interior vignette captures the table of a classic American diner. The color combination of...

Artist: Alex Katz Title: Gloria 13 Medium: Etching on Zerkall Ingress paper Date: 2005 Portfolio: 2005 Gloria Edition: 25/100 Frame Size: 15" x 15" Sheet Size: 12" x 9" Image Size: ...

Paper Size: 15.75 x 19.75 inches ( 40.005 x 50.165 cm ) Image Size: 14.5 x 19.75 inches ( 36.83 x 50.165 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Title: British Original Watercolor Portrait of a Woman with Flowers By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 15.25 x 11.25 inch...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

- Artist: Cheng-Hsiung Chen (b. 1942, Taiwan). A museum-exhibited master sculptor known for his signature "One-Stroke Carving" technique. - Object: A pair of monumental bronze sculpt...

Pool Slide, from Richard Heeps Dream in Color series. This fun original artwork really shows Richard's unique eye as a photographer, creating this kitsch pop-art picture from an Amer...