Katie VanVliet

"Somebody That I Used to Know", Two Plate Intaglio Etching, Floral Motif

2023

This piece titled "The Secret Life of Plants VE 7/8" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of...

This piece titled "Wish I Was the Moon" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 measures 1...

This piece titled "The Secret Life of Plants VE 8/8" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of...

This piece titled "Wish I Was the Moon VE 3/7" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 mea...

This piece titled "This Must Be the Place VE 3/7" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 ...

This piece titled "This Must Be the Place VE 4/7" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 ...

OWL ROCK is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is currently unframed. Like Wortsman's own sculptures, the abstract components here mix the organic with roughly-hewn geometric forms. Note the dialogue between the colors umber, green and white, with the 3 perforations tying it all in – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the indigenous art of Africa, the Middle East, India and Asia, his forms are organic and geometric abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. OWL ROCK was exhibited at Tabla Rasa Gallery, Brooklyn, New York in 2013. And at Made In Brooklyn, Hanson Gallery, Honesdale, Pennsylvania, 2015. From Harold Wortsman – "I was introduced to printmaking in the 1990s by legendary printmaker, the late Sheila Marbain. Printer to the masters of Pop Art, like Oldenberg, Lichtenstein and Warhol, she tired of conventional silkscreen and developed her own silkscreen monotype technique. Several years of work with Marbain led to etching and hand-tooled aluminum intaglio with the great printer Sheila Goloborotko. I currently work with master printer Kathy Caraccio. While working together on a difficult project, Caraccio exclaimed: “This is not a print; it’s a painting.” Printmaking is now an integral part of the work I do." From Jonathan Goodman, Art Critic – "There are certain kinds of art that endure beyond the novel effect, demonstrating an awareness of time-honored methods and even historically potent imagistic biases, and Wortsman's work belongs to this ongoing vision." – Fronterra D, October 2016. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

CYCLOPS is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in black matte wood with spacers under glass to maintain the deckle edge of paper. The print floats on museum board using archival Hayaku Japanese Hinging Paper. Like Wortsman's sculptures, the abstract components here seem to possess both organic and geometric forms. Note the four corners of black, bracing the center serpentine shape of copper and black speckled white – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the indigenous art of Africa, the Middle East, India and Asia, his forms are organic and geometric abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. CYCLOPS was exhibited at Harold Wortsman...

PROPOSITION is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in white matte wood with spacers under glass to maintain the de...

Jerusalem City of Gold, three panel triptych, pencil signed 186/190, brushed bronze framing. The City of Religion Beautifully captured in this m...

"Eve in the Trees (Photogravure)" Intaglio Etching on Cotton Paper, Hand Printed by Artist, Framed Dimensions 9 x 6in on 15 x 11in paper, framed 21 x 17 in Limited Edition of 6 + 1 AP This piece is signed, dated, and numbered on recto and verso, includes certificate of authenticity. Indira Cesarine is a multidisciplinary artist who works with photography, video, painting, printmaking, and sculpture. A graduate of Columbia University with a triple major in Art History, French, and Women’s Studies, she additionally studied at Parson’s School of Design, ICP, SVA, The New York Film Academy, and The New York Academy of Art. Cesarine had her first solo show at the age of sixteen at Paul Mellon Arts Center. She began working as a photographer from the age of seventeen, shooting for top modeling agencies Elite, Ford, and IMG while she completed her degree. Upon graduation from university, she continued her career in London where she received photography commissions by Vogue, GQ, Harper’s Bazaar, and many other international titles while still in her early twenties. Her work as an artist has been featured internationally at many art galleries, museums, and art fairs, including The Metropolitan Museum of Art, Hudson Valley MOCA, The Watermill Center, Mattatuck Museum, Albany Institute, The National Museum of Women In The Arts, CICA Museum, Smack Mellon, San Luis Obispo Museum of Art, French Embassy Cultural Center, Art Basel Miami, SCOPE Art Fair, Cannes Film Festival, and SPRING/BREAK Art Show to name a few. In 2014, her public art sculpture, "The Egg of Light," was exhibited at Rockefeller Center as part of the Fabergé Big Egg Hunt. Cesarine’s work has been auctioned in a number of celebrated art benefits including at Sotheby’s New York, ARTWALK NY supporting the Coalition for the Homeless, Gabrielle's Angel Foundation for Cancer Research, and UPRISE supporting the ERA Coalition, among many others. Her artwork and exhibitions have been featured internationally in numerous publications including The New York Times, American Vogue, Vogue Italia, Forbes, Newsweek, W Magazine, Harper’s Bazaar, i-D, Dazed, New York Magazine, and The Huffington Post. Empowering feminist themes are often a point of departure for her artwork, which is influenced by autobiographical content, her Latinx heritage, and women’s history...

Pickaxe (Spitzhacke) Superimposed on a Drawing of the Site by E.L. Grimm, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Unframed: 26" x 20" Framed: 28.75" x 22.75" Signed and Dated Lower Right Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...