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Paul Katz
Prelude No. 75 (Black and White Plaster and Found Object Relief Sculpture)

$1,250List Price

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How She Can Dance So Beautifully (Modern Minimalist Abstract Wall Sculpture)
By Dai Ban
Located in Hudson, NY
54 x 15 x 5.5 inches carved precision board & Venetian plaster This contemporary, abstract minimalist wall sculpture was made by Japanese artist, Dai Ban in 2017. The elegant minim...
Category

2010s Contemporary Abstract Sculptures

Materials

Plaster, Foam Board

She Carried Water (Minimalist Standing Sculpture in Shades of White and Gray)
By Dai Ban
Located in Hudson, NY
"She Carried Water", 2019 (Abstract Free Standing Tabletop Sculpture in Shades of White, Grey and Black) 31 x 12 x 8 inches Precision board, Venetian plaster, pigments, beeswax The ...
Category

2010s Contemporary Abstract Sculptures

Materials

Steel

Fruit of Poet (Abstract Olive Green Leaf Shaped Minimalist Wall Sculpture)
By Dai Ban
Located in Hudson, NY
"Fruit of Poet" by Dai Ban, 2021 42" X 22" X 12" Foam Board, Venetian Plaster, Beeswax, Pigment Dai Ban designed this dynamic abstracted wall sculpture in his studio in the Berkshi...
Category

2010s Contemporary Abstract Sculptures

Materials

Plaster, Foam Board, Pigment

Closing Gate (New Brutalism Minimalist Abstract Wall Sculpture in Bright White)
By Dai Ban
Located in Hudson, NY
Minimalist, New Brutalism abstract three dimensional wall sculpture in white "Closing Gate Faster Than We Wished", by Japanese born artist, Dai Ban, in 2...
Category

2010s Abstract Abstract Sculptures

Materials

Plaster, Board, Acrylic

It's Raining Here, I Wish I Had an Umbrella With Me (White Minimalist Sculpture)
By Dai Ban
Located in Hudson, NY
32 x 12 x 6.5 carved precision board & Venetian plaster This contemporary, abstract minimalist wall sculpture was made by Japanese artist, Dai Ban in 2017. The elegant minimali...
Category

2010s Minimalist Abstract Sculptures

Materials

Plaster, Foam Board

Hope You Don't See Me (Abstract Geometric Wall Sculpture in White and Gray)
By Dai Ban
Located in Hudson, NY
Abstract geometric, minimalist wall sculpture in white and grey Precision board, Venetian Plaster, pigments, and beeswax Despite it's stone-like appearance, the sculpture weighs abo...
Category

2010s Abstract Geometric Abstract Sculptures

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Plaster, Board, Pigment

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Shoes
$24,000 Sale Price
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Diary 2 by John Garrett, 2017, Mixed Media Wall Hanging Sculpture, Contemporary
By John Garrett
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John Garrett was raised in southern New Mexico by parents who were both educators. They instilled in him an appreciation for the handmade with their collections of Native American a...
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Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl
By Patricia Miranda
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Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...
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Patricia Miranda, Dreaming Awake, 2020, nightdress, cochineal dyes, plaster,
By Patricia Miranda
Located in Darien, CT
Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...
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