Early 2000s Abstract Prints

"In that I have selected a variety of mathematical / geometric concepts as the basis for the work, it is my intent to form a complex integration by graphing an x,y axis, asymptote sy...

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

Lambdaprint "Gravity" behind glass on aluminum, edition 4.

Artist: Damien Hirst Title: Ciclopirox Olamine Medium: Etching Date: 2004 Edition: A.P. (aside from the edition of 145) Frame Size: 48 1/2" x 47 1/2" Sheet Size: 45" x 44" Signature:...

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

This original edition of 'Skies the Limit' is in immacualate condition. It is hand signed and numbered by the artist. 15/72.

A set of three iconic spot prints by Damien Hirst. These signed etchings have matching edition numbers, making them highly desirable. Ciclopirox Olamine, 2004 aquatint etching on Ha...

Tom Friedman Untitled (Road Maps), 2005 Lambda print Image Dimensions: 40 1/4 x 31 1/4 inches (102.2 x 79.4 cm) Framed Dimensions: 45 1/8 x 36 1/4 x 2 inches (114.6 x 92.1 x 5.1 cm...

Created in 2000, this color screenprint is hand-signed by Robert Rauschenberg (Port Arthur, 1925 - Captiva, 2008) in pencil in the lower left margin and is numbered from the edition ...

Created in 2003, this color soft-ground etching is hand-signed by Ed Ruscha (Nebraska, 1937 - ) in pencil in the lower right margin. Numbered from the edition of 35 in pencil in the ...

Jim Hodges and Andy Warhol I Remember Heaven Offset Lithograph with silver foil on glossy stock Year: 2007 Size: 24x18in Edition: 1,000 Unsigned and unnumbe...

The set of six linocuts printed in colours. Each signed in pencil, numbered from the edition of 50. Printed on Somerset Velvet Radiant White paper by Hidemi Nomura and Tsutomu Kjimo...

Screenprint on paper with 24 karat gold leaf, collage and tape on board (Edition of 24) Signed, titled, dated, and numbered, verso This artwork is offered by ClampArt, located in Ne...

Signed in pencil verso, numbered from the edition of 16. Printed on wove paper by Stoneman Graphics, Cornwall. Published by The Paragon Press, London. (Kemp 201).

Learning French, Melanie Yazzie lithograph black white giraffes French language As a printmaker, painter, and sculptor, my work draws upon my rich Diné...

Monotype Signed, dated, and inscribed "II" in pencil, recto This artwork is offered by ClampArt, located in New York City. Born in Okinawa, Japan, and raised in Knoxville, Tennesse...

Digital C-print on Endura metallic paper (Edition of 3) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Begun in 2003, the series of works...

Untitled Etching Paper size: 14 x 14" Image size: 12 x 12" Edition of 23 Year: 2004 Signed by artist and labeled 6/23 Tara Donovan (born 1969 in Flushing...

Peter Max Heart and Profile c. 2005 Serigraph with Acrylic Paint Hand Signed by the Artist Image Size: approx. 14 x 12.5 Frames Size: approx. 27 x 24.5 inches

ROBERT COTTINGHAM M, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and n...

ROBERT COTTINGHAM Rialto, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' ...

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...