André Naggar

Abstract Photo Composition I, 1980 - photograph, 62x82 cm., framed

1980

Lithograf, signed lower right, Number:15/150 Dim: 66cm x 86cm Height Arman (November 17, 1928 – October 22, 2005) was a French-born American artist.[1] Born Armand Fernandez...

Original lithograph by Miro', printed signature without numbering.

Lithograph, signed lower right, Number: 24/75 Alechinsky was born in Schaerbeek. In 1944 he attended the l'École nationale supérieure d'Architecture et des Arts décoratifs de La Cam...

Large lithograph, signed lower right, number: 43/50 André Lanskoy He was born in Moscow. After 1905, the family moved to St. Petersburg, the capital in 1909. In 1918, he moved to Kie...

Winter Moon Rising by Frank Schott, from a series or works capturing the sky's ethereal color palette between dusk and dawn 32 x 40 inches / 81cm x 102cm edition of 25 60 x 48 inc...

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney 40 x 32 inches...

Contemporary photograph on collotype by Houston, TX artist Delilah Montoya. Photograph shows a young woman with long, dark hair with both arms stretched to the sides while surrounded by lit candles. Her back faces the camera as she faces a wall with graffiti. The scene is reminiscent of Jesus on the cross. Titled, signed, and dated by artist. Framed and matted in a red and gold wooden frame. Dimensions Without Frame: H 17.25 in. x W 16.13 Artist Biography: Although she was born in Texas and lived in Nebraska into her twenties, photographer and printmaker Delilah Montoya has deep roots in northern New Mexico through her mother's family. Raised by her mother, Montoya observes that women have empowered her family for five generations. Montoya studied photography and printmaking at the University of New Mexico, where she received her bachelor's degree, master's degree, and master of fine arts. She works in a variety of two-dimensional photographic and printing processes as well as creating larger installations. The artist describes her approach as postmodernist and uses documentary strategies to interpret her own distinct vision. Politically, Montoya is committed to exploring issues of identity in terms of a Chicano cultural context:"In my own evolving ideology I question my identity as a Chicana in occupied America, and articulate the experience of the minority woman. I work to understand the depth of my spiritual, political, emotional and cultural icons, realizing that in exploring the topography of my conceptual homeland, Aztlan, I am searching for the configuration of my own vision. " (Montoya n.d.) Montoya is committed to the expression of Chicana experience and history, but she does not consider herself as a feminist. Indeed, Montoya rejects identification as a United States-style feminist because she believes that "Feminists don't give us solidarity. As a Chicana my issues are multifaceted, not just gender, but class, race. " The border, for Montoya, is a politically imposed construct, a part of a United States colonialist enterprise that was forced upon the Chicano community. It is the environment in which Chicano life and history unfolds. Montoya's work explores contemporary and historical issues, sometimes win a humorous twist. Her artist's book for the 1992 Chicano Codices exhibition organized by the Mexican Museum in San Francisco, Codex Delilah: a Journey From Mechica to Chicana (including text by poet Cecilio Garcia-Camarillo), traces the imaginary journey of Six Deer, a character who embodies the contact between indigenous and Spanish culture in her trip "pal norte" towards Aztlan, the "spiritual homeland of her ancestors." As she journeys to the north, the character also journeys forward in time, meeting important Chicanas from the past, including La Llorona...

large scale abstract photograph of mesmerizing monochromatic color space and tactile marble stone and velvet textures captured in Roman palazzo Untiltled (Amber) by Frank Schott 72...