21st Century and Contemporary More Prints

From Richard Heeps Dream in Color series a cinematic scene, a doorway in a motel in Nevada on an American road trip. Warm evening sunlight glows casting shadows across the picture. ...

Swim-in-Pool, photograph from Richard Heeps Dream in Colour series. This fun original artwork really shows Richard's unique eye as a photographer, creating this slightly surreal kits...

Neon Flamingo, photograph from Richard Heeps' Norfolk series. This artwork is a limited edition of 25, gloss photographic print, dry-mounted to aluminium, it is presented in a muse...

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...

Banned Book Series. A definite "conversation" piece of art. This is the only limited edition print in the Book Stack Series, which contains 24 different themed stacks. BANNED is in a...

90 Minutes Vintage Blue, pop art from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, pers...

ICES Cornflower Blue, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex co...

Elektronik Blue, pop art from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal pas...

Prize Bingo, Norfolk, Richard Heeps' typography sign photography centrally framed in the Kodak rebate border, against an expansive, vivid blue sky, isolating the subject and emphasiz...

By removing parts of the image, he explores the tension between what is present and what is omitted, focusing on the reasons behind these choices and their implications. The cutouts ...

The kaleidoscope of colours and the dynamic form of nature are expressed in this joyful celebration of nature. Rendered in right red, yellow, blue, green, orange and yellow—the colou...

'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 ...

The project is based in the contrast of the two images, the air waybill and the postage stamp, from different times but similar in their function. The artist seeks to enlighten the c...

90 Minutes Tinted Blue, artwork from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, perso...

AILA Blue, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal pas...

North Shore Motel Steps, mid-century architecture photography captured by Richard Heeps as part of his Salton Sea series. This artwork is a limited edition of 25 gloss photographic ...

Pool Slide, photograph 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 f...

Dining Room, Kanab, cinematic interior photograph from Richard Heeps Dream in Color sereis. Captured in an American region that was often used as Western movie locations due to its ...

'Buick in the Dust II', features an American Car, on a British Beach (Hemsby, Norfolk) driven by a German. Richard spent years honing his skills as a drag racing photographer, a spor...

Type II Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, p...

Heidler & Heeps Vinyl Collection Nine Piece 'Blues' Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully ...

Chrome Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, pe...

A set of nine black and white photographs by Richard Heeps. They can be hung in a grid, or spaced out throughout your interior. Richard Heeps, primarily known as a colour photographe...

Peter Halley Peter Halley, Imago Galleries, Palm Desert, CA (Hand Signed), 2006 Offset lithograph poster (hand signed by Peter Halley) 25 1/2 × 18 1/4 inches Provenance; Acquired directly from the artist Unframed Alpha 137 Gallery is honored to offer this offset lithograph, published on the occasion of legendary American artist Peter Halley's 2006 one-man exhibition at Imago Galleries, Palm Desert, California which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective "Andy Warhol - from A to B and Back Again" at the Whitney. PETER HALLEY BIOGRAPHY Peter Halley, born 1953, New York City, is an American artist who came to prominence as a central figure of the Neo-Conceptualist movement of the 1980s. His paintings redeploy the language of geometric abstraction to explore the organization of social space in the digital era. Since the 1980s, Halley’s lexicon has included three elements: “prisons” and “cells,” connected by “conduits,” which are used in his paintings to explore the technologically determined space and pathways that regulate daily life. Using fluorescent color and Roll-a-Tex, a commercial paint additive that provides readymade texture, Halley embraces materials that are anti-naturalistic and commercially manufactured. In the mid 1990s Halley pioneered the use of wall-sized digital prints in his site-specific installations. He has executed installations at Museo Nivola, Orani, Sardinia (2021); Greene Naftali, New York (2019); Venice Biennale (2019); Lever House, New York (2018); Schirn Kunsthalle, Frankfurt (2016); Disjecta, Portland (2012); the Gallatin School, New York University, (2008, 2017); the Museum of Modern Art, New York (1997); and the Dallas Museum of Art (1995). In 2005, Halley was also commissioned to create a monumental painting for Terminal D at the Dallas/Fort Worth International Airport, Texas. Halley served as professor and director of the MFA painting program at the Yale School of Art from 2002 to 2011. From 1996 to 2005, Halley published INDEX Magazine, which featured interviews with figures working in a variety of creative fields. Halley is also known for his essays on art and culture, written in the 1980s and 1990s, in which he explores themes from French critical theory and the impact of burgeoning digital technology. His Selected Essays, 1981 – 2001, was published by Edgewise Press, New York, in 2013.Halley’s writings have been translated into Spanish, French, and Italian. A catalogue raisonné, PETER HALLEY: Paintings of the 1980s, was published in 2018 by JRP Ringier. Halley’s work can be found in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Broad Art Foundation, Los Angeles; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Boston Museum of Fine Arts; Dallas Museum of Art; Albright-Knox Art Gallery, Buffalo; Tate Modern, London; Stedelijk Museum, Amsterdam; Sammlung Marx, Berlin; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum of Contemporary Art, Tokyo; Seoul Museum of Art, among others. More about Peter Halley Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

Type II Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, p...

Dear Artist, 2014 etching 38 x 28 cm - sheet 44 x 35 cm - Framed hand-signed, dated and numbered by the artist Edition 17 of 20 published by Shafer Editions

Richard Heeps Dream in Color 'Pool Installation'. A set of nine individual artworks, vibrant yet serene they take you on a journey through California & Nevada through the eyes of the...

AILA Blue, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal pas...

Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...

The seductive blue sky and the seductive milkshakes make you feel as if you are sitting in the car at this "Americana style" Roadhouse in Welkom, South Africa. It is typical of Richa...

90 Minutes A Side, artwork from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal p...

This listing is for three blue artworks from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Nata...

Tamara de Lempicka (1894-1980) - The Blue Scarf, 1930 Giclée from 2023. The edition no. 2 out of 100. Dimensions of work: 70 x 52.5 cm. Publisher: Chelsea Green Editions. High-q...

Tamara de Lempicka (1894-1980) - Saitn Moritz, 1929 Giclée from 2023. The edition no. 3 out of 100. Dimensions of sheet: 70 x 52.5 cm Dimensions in frame: 87.5 x 69.8 cm Publish...

Franz Graw Bull Color Offset Lithograph Year: 2023 Size: 11.81 x 15.74 inches (30 x 40 cm) Edition: 100 Signed and numbered in pencil COA provided Franz Graw (b. 1964) is a Düsseld...

Ed Ruscha Actual Size (Spam), 2024 UV pigment print with yellow silkscreen details and a matte varnish seal, printed on 410gsm Somerset Tub Sized Radiant White paper. Individually nu...

'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...

Mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper 111.8 × 78.7 cm Edition of 95 hand-signed and numbered by the artist James McQueen, born in 1977, is a Br...

This print presents a fictitious encounter between contemporary colonial forces and Native Americans who are defenders of immigrant refugees and displaced populations. The artist de...

Foyer VII & VIII, Italian interior architecture color photographs from Richard Heeps series A Short History of Milan There is a reoccurring linear, structural theme throughout the ...

'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...

'Utopian Foyer III', Italian Brutalist architecture photography by Richard Heeps' from his series 'A Short History of Milan'. There is a reoccurring linear, structural theme through...

Untitled, 2000 Chris Ofili Etching with aquatint printed in orange, on Hahnemühle wove paper Signed and numbered from the edition of 100 in pencil Published by Cubitt, London Sheet:...

Limited edition 9 x 11 silkscreen print of a Ralph Steadman drawing entitled 'Barstow City Limit,' numbered from an edition of 800, depicting gonzo author Hunter S. Thompson driving ...

Signed and titled and numbered by the artist, (23/69). Silkscreen print on handmade paper (from Bhutan). This print was featured in “Dreamland”, the first solo exhibition of a Chicano artist at MOLAA (Museum of Latin American Art). This is the first time the entire museum has been dedicated to a single artist. 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...

Debossed archival pigment print on surface Gampi Chine collé to Strathmore Bristol. Published in 2012 by Lincoln Center’s Vera List Art Project, New York, to commemorate the project’...

Digital C-print (Edition of 25) Signed, dated, and numbered, verso 28 x 24 inches, sheet 22 x 18 inches, image This artwork is offered by ClampArt, located in New York City. Edwar...

News Stand, photograph from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project at the Affordable Art Fair Milan 2019 and the series i...

Bitter Campari Sign, Italian architecture street photography from Richard Heeps series, A Short History of Milan. 'A Short History of Milan' began in Nov...

This piece is a giclée after an original painting created by Jonathan Winters in 1970. Jonathan Winters was an American comedian, actor, author, and artist whose iconic career spanne...

Damien Hirst Opium, 2000 Lambda C-Type print on Gloss Fuji Archive paper. Signed by the artist, lower right on recto Numbered on verso 48 x 43.7 cm 52 x 48 cm (framed) Edition 391 of...

Tracey Emin My Heart is with you Always, 2015 Offset lithograph on silk-finished paper Signed by the artist, on recto 70 x 50 cm Edition of 500

Foyer VII, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become...

Slide by Julie Blackmon is from an ongoing series titled Home Grown According to the Los Angeles Times, Blackmon's images are “absorbing, meticulously orchestrated slices of ethnogr...

Chrome Blue, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal p...

Pink Champagne Motel, from Richard Heeps' Jersey Shores series, taken in the Doo Wop Capital of the World Wildwood, a mecca for mid-century architecture in America. This artwork is ...

News Stand, photograph from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project at the Affordable Art Fair Milan 2019 and the series i...

A hand crafted five layer screen print of a painted illustration by the artist this retro classic candy on heritage white paper. With a final layer of diamond dust. ADDITIONAL INFOR...

Heidler & Heeps Vinyl Collection 'LTD. ED. Vinyl Ochre Pink'. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesm...

Katie Edwards Joy II Limited Edition Silkscreen Print Edition of 50 Image Size: H 40.5cm x W 50.8cm (Please note that in situ images are purely an indication of how a piece may look). Joy II escaping on a carousel horse conveying the theme of Joy perfectly. This illustration was the winner of the 2014 Bridgeman Studio Award. Limited print run of 50, 4 colour silk screen print on Fabriano Ruvidi 200gsm paper. Each one is screen printed by hand, making each one unique. Signed by the artist Katie Edwards. Katie Edwards produces conceptual illustrations for a wide range of clients from weekly editorials to large and prestigious ad campaigns. Screen prints for sale by Katie Edwards focusing on conceptual ideas, symbolism and metaphors. The innovative juxtaposition of elements often result in a surreal, humorous or thought-provoking image. Art has been a big part of Katie Edwards life and education, right through to graduating from Leeds Metropolitan University in Graphic Arts and Design with a First Class Honours. Working in London for five years as an artist and graphic illustrator, moving to Canada for two years and undertaking commissions’ for clients including Delta Airlines and Converse Shoes...