Plastic More Prints

Artist: Roy Lichtenstein Title: Reflections on Hair Portfolio: Reflections Medium: Lithograph, screenprint, relief and metalized PVC collage with embossing on mold-made Somerset pape...

Who doesn't say this sweet expression to their loved ones? That is the idea behind Joanie Landau's digital art, I Love You More Than. This artwork is printed on archival ink jet pape...

For the past decade, Andrew Blanchard’s work has volleyed between personal reflection and objective reportage. Blanchard’s screen-printed paintings touch upon prickly issues such as ...

Who doesn't say this sweet expression to their loved ones? That is the idea behind Joanie Landau's digital art, Love Letter. This artwork is printed on archival ink jet paper and fra...

Takes me Away is a fine art photograph taken by photographer Allyson Monson. This image is mounted in plexiglass and is part of Monson's Seascape Series. "It is apparent that ligh...

New Ends is a fine art photograph taken by photographer Allyson Monson. This image is mounted in plexiglass and is part of Monson's Seascape Series. "It is apparent that light and...

A very good impression of this color lithograph with collage of screenprinted reflective Mylar on Arches. One of 9 numbered artist's proofs, aside from the edition of 84. Signed, tit...

Who doesn't say this sweet expression to their loved ones? That is the idea behind Joanie Landau's digital art, I Love You More Than. This artwork is pri...

Clarity Brings Serenity 24" x 36" Seascape Fine Art Photography Framed in Plexiglass Signed Swimming in hurricanes. Most people think it's...

Atlantic is a fine art seascape photograph that is mounted in plexiglass. This photograph is shown in its original state as taken and was not digitally manipulated in post. Atlantic 34" x 72" Seascape Fine Art Photography Mounted in Plexiglass Best described as paintings from a camera, John Duckworth’s Landscape Abstracts evoke the sea, forest, marsh, and sky in rich bands of saturated color. This body of work captures the essence and natural beauty of the region, where vibrant colors flow through the landscape as subtly as the southern seasons flow into each other. The humid summers bring brilliant green marshlands and graceful, fast-moving thunderstorms of purple and gray, while colder months deliver warmer, gentler tones and calm, serene sunsets. At every glance these photographs transport you through their colors - each image telling a unique story of the horizon through both aesthetic and process. The Landscape Abstract series is a combination of three of John’s loves: creative process, nature, and bicycles. Almost all of these images were created during regular bike rides throughout the region. Intended to reveal a memory more than an exact record, the series is part of John’s ongoing meditation with nature. Certain images appear to subtly move when given ample time to sit quietly before them. John Duckworth’s works transcend the line between realism and abstraction. His photographs are infused with an intimate knowledge of nature, a passion for pure color, and a rhythm drawn from life itself. His trademark style involves abstracting the photographic image to lend the work a much lauded painterly appearance. By providing the viewer a sense of place, yet obscuring the details, he allows each individual to step into the image and bring forth their own visual history. The ensuing narrative is enriched through the power of memory, infusing a personal creative process with universal appeal. Duckworth's art imparts a calming, meditative and contemplative quality intended to elicit a deeper consideration of ourselves and our environment. He is most well known for his quietly abstract landscape photography of the Southeast coast, wherein the images read as luminous, rhythmic color field paintings. More recently his work has become immersive multimedia experiences involving video, music, performance, painting, and photography. More recently, his long-standing meditation practice inspired a new body of work culminating in an exhibition entitled "AWAKE" - an immersive multimedia experience guiding each visitor through eight sequential rooms and over 90 original works of art, while wearing wireless headsets playing ambient audio composed for each room. This work is multi-layered and diverse, including photography, painting, screen-printing, airbrush, spray paint, audio, video, design and performance. “I wanted the exhibition to be alive - as I sat in meditation 2-5 hours a day for two months I was changing, transforming myself as part of the process.” John Duckworth lives and works in Johns Island...

The Lion Wave 40" x 60" Seascape Fine Art Photography Framed in Plexiglass Signed The Lion Wave was taken in Long Beach, NY in the fall of 2014. I used my SPL Camera Housing to p...

The Lion Wave 36" x 48" Seascape Fine Art Photography Framed in Plexiglass Signed The Lion Wave was taken in Long Beach, NY in the fall of 2014. I used my SPL Camera Housing to p...

'Protest' by DJ Leon. The lenticular print measures 47 x 33 inches and contains images that shift depending on the viewer's perspective. Visuals of 1970s protests appear alongside sy...

Swimming in hurricanes. Most people think it's crazy but for Jonathan Spector it's just another day at the office. When his hometown of Long Beach, NY...

Liquid Gold 40 x 26.7 inches Seascape Fine Art Photography Framed in Plexiglass Non-edition multiple, Signed “ It is apparent that light and movement along with texture is what I...

Breach Inlet 65259 40" x 26" Seascape Fine Art Photography Framed in Plexiglass Signed *inquire for additional size and frame options* Best described as paintings from a camera, Jo...

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...

Cibachrome print face-mounted to Plexiglas Inscribed "Griechenland" in pencil, verso Provenance: Jay Gorney Gallery, New York Private collection, 1990 Private collection, 2005 This...