Susan Lenz

Two Hours at the Beach

2020

Artist Commentary: It all starts with Linnie Rose Oswald. She was my Great-Grandmother, the eighth of Elnore Rose's nine children. (All but one were girls.) During the 1920s she operated her own business and posed for a photo beside the laundry's vehicle. Family stories tell of a feisty red-headed woman with a will of iron, a temper, and a very strong work ethic who drove down the middle of Huntington, West Virginia's city streets as if she owned them. In all likelihood, Linnie needed these qualities. Being a female business woman in this era had to be hard! She would have gotten the right to vote around then. Later, Linnie owned almost a block of town and rented apartments. I remember her from the days when managing her apartments was problematic. Linnie lived to be ninety-six years old but dementia took her years beforehand. I was in college when she died in a nursing home in Kentucky. The last time I saw her, she wasn't aware of the visit. Her mind was elsewhere ... talking about the clothes she was making and the quilts she would stitch. What a woman! Keywords: art quilt, textile, paint Artist Biography: Susan Lenz...

Artist Commentary: This is from a series of sculptures created by casting different materials into a concrete form tube (sonotube) and combining that wit...

Artist Commentary: This artwork is intended as a gently rotating, dimensional mandala. It has a baroque-upcycled aesthetic that playfully transcends the utility of the can-tab. The shape recalls a chandelier or and upside-down layer cake. Sparkling moiré patterns emerge in the hanging chains as viewers circumnavigate the art. One can experience the artwork as a sparkling, crystalline mystery from a distance, then as a familiar but incalculable marvel up close. Keywords: kinetic art, suspended art, upcycled, sparkling , metal Details: A kinetic, sensory sculpture made from post-consumer can-tabs, safety pins, steel armature and ceiling mounted motor. 84"l x 55"w x 55"d. 65 lbs. rotates at 1 to 1-1/2 rpm Artist Biography: Since 2002, award winning artist Virginia Fleck...

Artist Commentary: Made from post consumer can-tabs. Can-tabs can be found in a rainbow of colors according to their brands. The blue are from Michelob beer and the pink are from White Claw brand beverages. The can-tabs are washed 3 times at my studio before being added to an artwork. Keywords: assemblage, post consumer can-tabs Details: This is a wall mounted scuplture made from post consumer can-tabs and safety pins mounted on green MDF. A hanging cleat is attached on back. signed on back. No paints are used in this piece. The can-tabs are manufactured in many colors according to thier brand. Artist Biography: Since 2002, award winning artist Virginia Fleck...

Artist Commentary: An interactive hybrid of social experiment and sculptural object, envelopes the sitter into it’s cushiony softness, referencing a Victorian courting chair...

Artist Commentary: This soft, pepto-bismol pink sculpture intertwined around a found traditional lamp and wrapped around the table it is sitting on reminded me of people who are look...

120 objects Denise Yaghmourian is sculptor, painter and installation artist. Her forms are rooted in past art movements and styles, yet they resonate with artistic concerns of toda...

'Calendar Wheel' is an original assemblage by the American artist Charles Berg. Within a divided drawer, Berg has assembled a variety of found objects: metal balls, a clock, a sheet of copper punched with the word 'wind,' a Victorian card of a woman, etc. The artwork takes its name, however, from a transparent 1935 calendar in the lower right. Berg here is following the tradition other artists who specialize in assemblage, including Joseph Cornell, Robert Rauchenberg, and Betye Saar...

Pop Art American Flag in Handsewn Patchwork Denim. I had another with a label from OK Harris Gallery verso. This one does not have that label or the label Label from Pratt verso (Pratt MFA '75) Not positive of the year Hand signed Genre: Modern Medium: Denim Jean Textile Fabric, Mixed Media Country: United States Dimensions: 14 X 28 inches This is a textile wall hanging "painting" made from vintage jeans. JJ had a masters (MFA) from Prat and studied at Hunter college for many years. He was a master jeweler and goldsmith for 50 years, a musician and a photographer. He made a living working with photography, jewelry, bronze sculpture and antique restoration. An artwork in denim by a French Post War & Contemporary artist living in New York City, Jean de la Verrière, An untrained, art brut, 'outsider' artist, now 85. He sold some of his denim patriotic flag works through OK Harris gallery in Soho in the 1980s, one went directly to Ralph Lauren, according to the artist. He is also known for sculpture. particularly his working model, fully functional guillotine sculptures. Artist says he was influenced by Pop Art particularly Robert Rauschenberg and Jasper Johns works. He was in the New York art world along with his artist friends Bernar Venet, Arman and Claude Gillie. He fabricated and cast jewelry for some of his friends. This has a Sterling Ruby feel to it but was done a generation earlier. This is assembled like a quilt and was influenced by early American folk art. Jean Jacques De La Verriere...

Contemporary found object painting by Houston, TX artist Tra' Slaughter. The work features a green deconstructed shoe floated in a gold frame. This piece was included in Tra's solo s...

Exhibited in "Benji Stiles: A Human Day" at Reeves Art + Design. In “A Human Day,” a solo show dedicated to the work of contemporary multidisciplinary artist Benji Stiles, we explor...

A mixed media piece by Theaster Gates. "Untitled (flooring)" a contemporary found object piece, white cement, debris, flooring by American artist Theaster Gates. The artwork is unsigned. Theaster Gates' practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be. For his exhibition at Milwaukee Art Museum exhibition in 2010, for example, Gates invited a 250 strong gospel choir into the galleries to sing songs adapted from the inscriptions on pots by the famous 19th century slave and potter 'Dave Drake'. For the 2010 Whitney Biennial, Gates transformed the Whitney’s Sculpture Court with a spare, architectural installation that functioned as a communal gathering space for performances, social engagement, and contemplation. For the duration of the exhibition Gates collaborated with various creative practitioners on a series of 'monastic residencies', holding live events such as the session by Gates' musical ensemble, the Black Monks of Mississippi. In another recent exhibition at Seattle Art Museum, Gates transformed the gallery into an audio archive entitled 'The Listening Room', incorporating a hand-built DJ...