Abstract Expressionist Abstract Sculptures

This unique Murano glass sculpture by Paul Kostabi is a unique example of Venetian craftsmanship. Mouth-blown and hand-cut at the Hofmeister Glass Factory in Amberg, it is a truly un...

Cloud Study #6 is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white, yellow and black painterly brushstroke formations in g...

Cloud Study: House is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white and blue painterly brushstroke formations in glass ...

"Cloud Study: Bird' is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white painterly brushstroke formations in glass called t...

'Mandul' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space & Standing Stones series. It features painterly brushstroke formations in glass called ...

Cloud Study #5 is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white, yellow and black painterly brushstroke formations in g...

An Amazing New Piece at an Incredible Price by renowned Canadian Artist Fahri Aldin. This Stunning Beauty titled 'The Stallion III' is Limited Edition 2 out of 27. From his latest se...

'Sampalan' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. David fused various colored glass to create a layered, suspended, and vibran...

Alexander Liberman STOI V, 1986 Wood with paper and paint 97 1/2 × 28 × 37 inches This work is hand signed twice by Alexander Liberman: Signed on the side as well as the underside an...

'Sanawa' is a contemporary abstract glass by artist David Ruth. Created in 2008, it was a piece in a series about the David's views on the American invasion of Iraq. "In 2005, a fe...

'Al Safi' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. This part of the series was inspired by astronomy and the distant galaxies an...

'Lekhoo Beshalom' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. David fused various colored glass to create a layered, suspended, and...

Cloud Study #1 is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white and blue in painterly brushstroke formations in glass c...

Leonardo Nierman, Mexican (1932 - 2023) - Flight, Year: 1973, Medium: Bronze Sculpture, signed and numbered, Edition: I/VI, Size: 10.6 x 23.6 x 9.6 in. (26.92 x 59.94 x 24.38 cm)

Cloud Study: House is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white and blue painterly brushstroke formations in glass ...

A beautiful modernist 20th Century Bronze piece by Joachim Berthold. Here we find this stylish figure sitting in a hoping position looking up that eludes thought and complexity. A me...

In the manner of Julio Gonzalez, mixed metal sculpture. Neo-Dada Abstract Sculpture: Assemblages Abstract sculpture followed a slightly different course. Rather than focusing on no...

Cloud Study #2 is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white and black painterly brush...

'Ha'apai' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. It features painterly brushstroke formations in glass called trails. Trails ar...

'Kulaykili' is a contemporary abstract cast glass sculpture by David Ruth from his Darfur series. It features painterly brushstroke formations in glass called trails. These trails ar...

'Gabras' is a contemporary abstract cast glass sculpture by David Ruth from his Darfur series. It features painterly brushstroke formations in glass called trails. These trails are i...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Black and bright red expressive brushstrokes are layered with glass ...

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

'Azair' is a contemporary abstract glass by artist David Ruth. Created in 2008, it was a piece in a series about the David's views on the American invasion of Iraq. "In 2005, a few...

'Dar Zubi' is a contemporary abstract cast glass sculpture by David Ruth from his Darfur series. It features painterly brushstroke formations in glass called trails. These trails are...

'Al Okab' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. This part of the series was inspired by astronomy and the distant galaxies an...

Organic abstract sculpture by G. Krueger. The Serpentine stone has gorgeous earth-toned green, yellow, and orange hues, sculpted into a flowing shape in the style of Herman Miller Sc...

Cloud Study #4 is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white, yellow and black painterly...

This intense white bronze abstract sculpture, it is a multiple in limited edition not numbered. The title is "Paesaggio con ombra", translated in "Landscape with shadow". These bron...

William Pellicone (American 1915-2004) Mixed media, pyrography, oil on wood carving painting. Dated 1958 Title - Enthymeme #14. Oil painting on carved and burnt distressed wood panel. Inscribed verso Enthymeme Wm. Pellicone #14, 9-4-58. Label on reverse with a typed definition for Enthymeme. Dimensions: 27 inches high, 42.5 inches wide. Metal wrap frame. Provenance: from a Shelter Island NY home that was designed by architect Henry J. Gazon - A.I.A. built in 1959. William Pellicone (1915-2004) was an American painter known for his abstract compositions and use of vibrant colors. He was born in New York City and studied at the Art Students League and the Brooklyn Museum Art School. Pellicone's early work was influenced by the Social Realist movement of the 1930s and 1940s, with his paintings often featuring realistic depictions of urban scenes and working-class people. However, in the 1950s he shifted towards abstraction, exploring the interplay of color and form. Pellicone's mature style was characterized by his use of vibrant, saturated colors, often applied in thick layers of paint. His paintings often featured geometric shapes and organic forms, with a strong sense of movement and energy. In addition to his painting, Pellicone was also a respected teacher and arts administrator. He taught at the New York Institute of Technology and the State University of New York, and served as the director of the Islip Art Museum on Long Island. Pellicone's artwork was exhibited widely during his lifetime, and he was the recipient of numerous awards and honors, including a National Endowment for the Arts grant in 1977. Today, his paintings can be found in the collections of museums and galleries around the world, including the Smithsonian American Art Museum in Washington, D.C. and the Metropolitan Museum of Art in New York. William Pellicone (Born 1915) is active/lives in New York. William Pellicone is known for Abstract expressionist, landscape and non-objective art. An American artist, sculptor, architect. He exhibited at Pennsylvania Academy Fine Arts...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Against a gold background, the artist has attached several objects, ...

This gold color patinated bronze sculpture is made by Lino Tinè a contemporary abstract sculptor that lives and works in Milan, Italy. The sculpture expresse...

Abstract expressionist assemblage with found objects typical of an artist's studio floor by Bay Area artist Michael Pauker (American, b. 1957). Applied paint brushes, caps and tubes of paint, a few letters, putty knife, with splashes of color on wood. Unsigned. From the collection of the artist's work. Unframed. Image size: 11.25"H x 25.75"W Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40...

A large abstract Expressionist sculpture floor vase by the celebrated German-American Expressionist artist Peter Robert Keil (b. 1942), signed & dated 1985. The floor vase is of larg...

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

This series of sculptures is called Emotional States. It was created in 2023 in Kyiv (Ukraine). I lived and worked all year in my hometown in the middle of a Big war. I experienced a...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

Seymour Lipton Maquette for Laureate, ca. 1968-1969 Nickel silver on monel metal Unique 18 × 8 1/2 × 7 inches Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale This unique sculpture by important Abstract Expressionist sculptor Seymour Lipton is a maquette of the monumental sculpture "Laureate" - one of Lipton's most iconic and influential works located on the Riverwalk in downtown Milwaukee, Wisconsin. Laureate is a masterpiece that was commissioned by the Allen-Bradley Company in memory of Harry Lynde Bradley and as an enhancement for the newly constructed Performing Arts Center. It is located on the east bank of the Milwaukee River at 929 North Water Street. The Bradley family in Milwaukee were renowned patrons of modernist sculpture, known for their excellent taste who also founded an eponymous sculpture park. For reference only is an image of the monumental "Laureate" one of Milwaukee's most beloved public sculptures. According to the Smithsonian, which owns a different unique variation of this work, "The full-size sculpture Laureate was commissioned by the Marcus Center for the Performing Arts in Milwaukee. In the initial drawings, Seymour Lipton combined details from the architectural plan with a wide variety of images, ranging from musical instruments to a lighthouse on the island of Tobago. He transformed the basic shapes from these sketches into a welded sculpture, which evokes a figure composed of columns, harp strings, and coiled rope. Lipton created this piece to celebrate achievement in the arts. The dramatic silhouette commands your attention, reflecting the title Laureate, which means worthy of honor and distinction. The final version of the piece is over twelve feet high and stands out against the pale, flat buildings of the arts center.,," Provenance Marlborough-Gerson Gallery, New York Acquired from the above by the previous owner, 1969 thence by descent Christie's New York: Monday, June 30, 2008 [Lot 00199] Acquired from the above Christie's sale About Seymour Lipton: Born in New York City in 1903, Seymour Lipton (1903-1986) grew up in a Bronx tenement at a time when much of the borough was still farmland. These rural surroundings enabled Lipton to explore the botanical and animal forms that would later become sources for his work. Lipton’s interest in the dialogue between artistic creation and natural phenomena was nurtured by a supportive family and cultivated through numerous visits to New York’s Museum of Natural History as well as its many botanical gardens and its zoos. In the early 1920s, with the encouragement of his family, Lipton studied electrical engineering at Brooklyn Polytechnic Institute and pursued a liberal arts education at City College. Ultimately, like fellow sculptor Herbert Ferber, Lipton became a dentist, receiving his degree from Columbia University in 1927. In the late 1920s, he began to explore sculpture, creating clay portraits of family members and friends. In addition to providing him with financial security, dentistry gave Lipton a foundation in working with metal, a material he would later use in his artwork. In the early 1930s, though, Lipton’s primary sculptural medium was wood. Lipton led a comfortable life, but he was also aware of the economic and psychological devastation the Depression had caused New York. In response, he generally worked using direct carving techniques—a form of sculpting where the artist “finds” the sculpture within the wood in the process of carving it and without the use of models and maquettes. The immediacy of this practice enabled Lipton to create a rich, emotional and visual language with which to articulate the desperation of the downtrodden and the unwavering strength of the disenfranchised. In 1935, he exhibited one such early sculpture at the John Reed Club Gallery in New York, and three years later, ACA Gallery mounted Lipton’s first solo show, which featured these social-realist-inspired wooden works. In 1940, this largely self-taught artist began teaching sculpture at the New School for Social Research, a position he held until 1965. In the 1940s, Lipton began to devote an increasing amount of time to his art, deviating from wood and working with brass, lead, and bronze. Choosing these metals for their visual simplicity, which he believed exemplified the universal heroism of the “everyman,” Lipton could also now explore various forms of abstraction. Lipton’s turn towards increasing abstraction in the 1940s allowed him to fully develop his metaphorical style, which in turn gave him a stronger lexicon for representing the horrors of World War II and questioning the ambiguities of human experience. He began his metal work with cast bronze sculptures, but, in 1946, he started welding sheet metal and lead. Lipton preferred welding because, as direct carving did with wood, this approach allowed “a more direct contact with the metal.”[ii] From this, Lipton developed the technique he would use for the remainder of his career: “He cut sheet metal, manipulated it to the desired shapes, then joined, soldered, or welded the pieces together. Next, he brazed a metal coating to the outside to produce a uniform texture.”[iii] In 1950, Lipton arrived at his mature style of brazing on Monel metal. He also began to draw extensively, exploring the automatism that abstract expressionist painters were boasting at the time. Like contemporaries such as Jackson Pollock, Lipton was strongly influenced by Carl Jung’s work on the unconscious mind and the regenerative forces of nature. He translated these two-dimensional drawings into three-dimensional maquettes that enabled him to revise his ideas before creating the final sculpture.The forms that Lipton produced during this period were often zoomorphic, exemplifying the tension between the souls of nature and the automatism of the machine. In the years following the 1950s, Lipton’s optimism began to rise, and the size of his work grew in proportion. The oxyacetylene torch—invented during the Second World War—allowed him to rework the surfaces of metal sculptures, thus eliminating some of the risks involved with producing large-scale finished works. In 1958, Lipton was awarded a solo exhibition at the Venice Biennale and was thus internationally recognized as part of a small group of highly regarded avant-garde constructivist sculptors. In 1960, he received a prestigious Guggenheim Award, which was followed by several prominent public commissions, including his heroic Archangel, currently residing in Lincoln Center’s David Geffen Hall. A number of important solo exhibitions of his work followed at The Phillips Collection in Washington, DC (1964); the Milwaukee Art Center and University of Wisconsin, Milwaukee (1969); the Virginia Museum of Fine Arts in Richmond (1972); the Everson Museum in Syracuse, NY (1973); the Herbert E. Johnson Museum of Art of Cornell University in Ithaca, NY (1973); the National Collection of Fine Arts, Smithsonian Institution (now the Smithsonian American Art Museum) in Washington, DC (1978); and a retrospective in 1979 at The Jewish Museum in New York. In 1982 and 1984 alone, two exhibitions of his sculpture, organized respectively by the Mint Museum (Charlotte, NC) and the Hillwood Art Gallery of Long Island University (Greenvale, NY), traveled extensively across museums and university galleries around the nation. In 2000, the traveling exhibition An American Sculptor: Seymour Lipton was first presented by the Palmer Museum of Art of Pennsylvania State University in University Park. Most recently, in 2009, the Ackland Art Museum in Chapel Hill, NC mounted The Guardian and the Avant-Garde: Seymour Lipton’s Sentinel II in Context. Since 2004, Michael Rosenfeld Gallery has been the exclusive representative of the Estate of Seymour Lipton and has presented two solo exhibitions of his work—Seymour Lipton: Abstract Expressionist Sculptor (2005) and Seymour Lipton: Metal (2008). In 2013, Michael Rosenfeld Gallery presented Abstract Expressionism, In Context: Seymour Lipton, which included twelve major sculptures by the artist, along with works by Charles Alston, Norman Bluhm, Beauford Delaney, Willem de Kooning, Jay DeFeo, Michael Goldberg, Adolph Gottlieb, Hans Hofmann, Lee Krasner, Norman Lewis, Conrad Marca-Relli, Boris Margo, Alfonso Ossorio, Richard Pousette-Dart, Milton Resnick, Charles Seliger...

This unique Murano glass sculpture by Paul Kostabi is a unique example of Venetian craftsmanship. Mouth-blown and hand-cut at the Hofmeister Glass Factory in Amberg, it is a truly un...

This hand-crafted glass sculpture "Sunset" vividly depicts a desert scene with cacti and an intense sunset. Thousands of artfully arranged pieces of glass blend together to create th...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Against a yellow and black background, the artist has attached several objects, including plastic letters, cigar boxes, and glass slides. Unsigned, but was acquired with a collection of his work. Unframed. Image size: 20"H x 24"W Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40...

This hand-crafted glass sculpture "Sunset" vividly depicts a desert scene with cacti and an intense sunset. Thousands of artfully arranged pieces of glass blend together to create th...

This hand-crafted glass sculpture and urn "Sunset" is a unique colored glass window model that vividly depicts a desert scene with cacti and an in...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Splashes of gold paint are applied to a wood panel, with a few bits of burnt umber. Several objects - including a paint tube, cotton balls, and a miniature painting - are attached to the panel. Signed "Michael Pauker", titled "His Name Was Writ in Acrylic Paint", and dated "2017" on verso. There is a note from the artist that this is the top of a two-part piece, but the whereabouts of the bottom half are unknown. Unframed. Image size: 20"H x 24"W Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40...

"Synopsis" by Elsbeth Halvorsen Vever (American, b. 1929). Box sculpture combines aluminum, sand, bone, glass and a magnifier. Signed "Elsbeth Vever 1982" on verso. Image, 24.50"L x 13.75"H x 4"W. Using bone as the central image Elsbeth has assembled an optical and visual experience. One view is the magnification and juxtaposition of the floating effect of the curvature in the stainless steel background; stand back and it's a hologram effect. The first image shows clearly the hologram effect available to the eye of the viewer. From a review of her show of box constructions in Providence, Rhode Island: "Viewing her box constructions is a lot like a walk in the moonlight. What we know, or think, to be true in the hard brightness of daytime reality dissolves into an amorphous space of multiple possibilities and perspectives." Born in Purdys, New York, Elspeth Halvorsen is the daughter, granddaughter, and mother of professional artists. She has studied at prestigious academic and artistic institutions includingthe New School for Social Research, the Art Students League, and the Académie de la Grande Chaumière. In 1955, she moved to Provincetown, Massachusetts, establishing her home and studio in the former residence of Mark Rothko. Provincetown not only remains her home but also acts as a personal, social, and artistic source of inspiration for her work. Shortly after arriving in Provincetown, Halvorsen and her husband, the late Tony Vevers...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Unsigned, but was acquired with a collection of his work. Unframed. ...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

In this bronze sculpture the artist (unknown) has welded together a group of totems or monuments into a unified piece. T Neo-Dada Abstract Sculpture: Assemblages In contrast, abstra...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

Sylvia Schwartz In her structures, silicone molds are cast from both natural and hand-made forms, including clay coils, volcanic rock patterns, seaweed, and the artist’s own fingerprints. Leaving the human trace evident through the repetition of shapes and textures in both the natural and man-made elements, provides a measure of stability, a reference point. These manmade and natural forms merge, revealing our inexplicable dependence on nature. Through this melding of two entities, new life is breathed into the art object. Paper as a primary medium allows Schwartz to sculpt, draw and paint simultaneously. The flow of the pulp (a natural phenomenon in itself) meshes with the molded forms creating a structure that seems to rest on the edge between painting and sculpture. The duality between light and heavy, interior and exterior, planned and accidental, order and chaos, leading ultimately to a sense of life. Red...

Arc III, 2017 by Albert Paley Sand cast glass, steel Internationally renowne, and influential metal sculptor, Albert Paley forges ferrous metal into pieces that combine organic form...

A wonderful large modernist abstract bronze sculpture with geometric shapes by American artist Rodger Allen Mack (1938-2002). Mack was born in Barberton, Ohio, graduated from the Cle...

Artist: Paul von Ringelheim, Austrian/American (1933 - 2003) Title: Spiral 1 Medium: Painted Flame-Cut Steel Sculpture Size: 47 x 52 x 8 in. (119.38 x 132.08 x 20.32 cm)

Al Loving Have a Nice Day, 1992 Mailbox, acrylic paint, rag paper 8 1/2 inches high x 6 1/2 inches wide x 18 3/4 inches deep Al Loving studied painting at the University of Illinoi...

SALE ONE WEEK ONLY "Medusa Tree" is a free-flowing sculpture of cane that suggests a figure either emerging from or descending into a tangle of twisting lines. Several parts are painted red or blue or stripped that gives a contrast to the black structure and a spark of energy shooting forth. This piece seems experimental from her more conservative pieces that can be easily identified as basketry, paper forms and shaped objects. Danielle Bodine...

An Amazing New Piece at an Incredible Price by renowned Canadian Artist Fahri Aldin. This Stunning Beauty titled 'The Stallion' is Limited Edition 2 out of 27. From his latest series...

An Amazing New Piece at an incredible price by renowned Canadian Artist Fahri Aldin. This stunning beauty titled 'The Stallion Above' is Limited Edition 3 out of 27. From his latest ...

Cloud Study: Tree is a contemporary abstract glass sculpture by David Ruth from his Cloud Study Series. It contains hues of white and blue painterly brushstroke formations in glass c...

'Haumi' is a contemporary abstract cast glass sculpture by David Ruth from his Internal Space series. It features painterly brushstroke formations in glass called trails. Trails are ...