Kay Ritter

Nanny with Stroller

1978

Artist: M. Mitchell, American Title: Figures and Sculptures Medium: Pencil, Acrylic and Collage with 3 Resin Sculptures, signed Size: 80 in. x 35 in. x 12 in. (203.2 cm x 88.9 cm ...

This mixed media plexi sculpture by the American artist Larry Rivers is a modern take on portraiture. River's medium and use of vibrant colors are able to create a sense of playful...

Artist: Branko Bahunek, Croatian (1935 - ) Title: The Flautist Year: 1990 Medium: Bronze Sculpture, Signature and number inscribed Edition: 10/15 Size: 20.5 in. x 8 in. x 8 in. (52....

Artist: Mirkò, Italian (1980 - ) Title: Fisherman - II Year: 2006 Medium: Painted Terracotta Vase, signed and dated Size: 15 in. x 8 in. x 5.5...

Artist: Michael Stevens, American (1942 - 1989) Title: Chased Year: 1980 Medium: Hand-Carved and Painted Wood Sculpture, signed, titled and dated under base Size: 17.75 x 37 x...

Bronze sculpture with painted patina by Tom Coffin, from 1984, is a contemporary rendering of a woman walking her dog. Her powerful stance is accentuated b...

materials: Greatest Batman Stories 1938-83 (excerpts) --- TONY DAGRADI is an internationally recognized jazz performer, artist, composer, author and educator. For over three deca...

This piece titled "Cerveza Fría" is an original collaboration piece between Sean 9 Lugo and Charles Clary and is made of hand-cut paper, acrylic, pen, and mixed media on wood. This p...

In Erika Dueck’s optical machines, the viewer can peer through a small opening into a near-pathological state of anxious disorder; a state of things half-accomplished and naggingly remembered. Assembled with the materials of architectural models, the large, rectangular foam core structures - attached with neat Velcro fittings, loose cords and connections, small LED pods stuck to the pieces like urchins - allude to the temporary nature of the setup. It’s a travelling peep show...

In Erika Dueck’s optical machines, the viewer can peer through a small opening into a near-pathological state of anxious disorder; a state of things half-accomplished and naggingly remembered. Assembled with the materials of architectural models, the large, rectangular foam core structures - attached with neat Velcro fittings, loose cords and connections, small LED pods stuck to the pieces like urchins - allude to the temporary nature of the setup. It’s a travelling peep show...

Bone China emerged as a reflection on the relationship between synthetic and organic aesthetic properties. By fusing the two, Ramsay has attempted to create...

Nicholas Crombach is interested in the complex interactions between humans and animals. Using sporting and hunting as markers of longstanding traditions of both adversarial and collaborative relationships between humans and animals, Crombach examines the cultural significance and the complex issues percolating domestication and domination, play and survival in the 21st century. Crombach combines references to mythology via a striking aesthetic, creating works which revel in their contradictions and contrasts. Notably, the artist draws from the myth of Diana and Actaeon, which provides a poignant framework for this new series. In Ovid’s tale Actaeon, a hunter and grandson of King Cadmus, is in the forest with his dogs when he spies Artemis (Diana), the venerated goddess of the hunt, in her bath attended by her nymphs. Diana’s nymphs try to cover her modesty as the goddess feels violated by Actaoen’s brash curiosity. Diana splashes water upon Actaeon, robbing him from his ability to speak and turning him from a mortal man into a stag who flees into the forest only to be hunted down and killed by his own dogs. The hunter becomes the hunted. Crombach’s Fetch (2018) refers to the mythology of Diana and Actaeon in its last tragic hour, but the classical story of metamorphoses is presented as a game of fetch in the local park. Crombach creates a hybrid between the art historical imagery from paintings of hounds...