Found Objects Sculptures

Rod Lathim’s Glowgrass transforms a vintage wooden dobro into a fusion of sculpture, sound, and spirit. Rooted in the traditions of American folk, country, and bluegrass, the dobro h...

Daniel Fiorda in this new series of sculptures, continues in many ways the themes that have infused his previous work. For the last several years, Fiorda has dealt with technology, obsolescence, with the trail of discarded tech that humanity leaves behind and what it says about us. The new work takes this thematic one step further. These new wall pieces feature barely concealed found objects, almost fully engulfed by concrete, and yet still eerily discernible: industrial gears, computer keyboards, objects that evoke industrial post-digital eras. This piece is a set of 3 artworks...

Aparici's work is characterized by simplicity, since most of his pieces bring together few elements, resulting in very elegant compositions with simple lines, which together with his...

Nir Adoni's metal vessels sculptures have become his signature art and are displayed in public buildings around the world. We are offering limited editions ...

"Society is placing a major roadblock in front of the lives of women who now that Roe has been overturned, are pressured to carry unplanned pregnancies to term." KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

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...

Manuele Bernardi was born in 1959 in Saint-Tropez. She lives and works in Roussillon, in the south of France. After completing studies at the Roederer Academy in Paris, she completed...

Nir Adoni's metal vessels sculptures have become his signature art and are displayed in public buildings around the world. We are offering limited editions ...

Contemporary Ceramic Sculpture, Marble Base, Brass Rod, Mixed Media, Feathers Since graduating from the University of Colorado in 2010, Pichaske has risen to attention in the art wo...

Paul Villinski's "Cycloid" incorporates his signature butterfly motif with a found antique frame. This unique piece dazzles with its shimmering gold leaf finish, with the bespoke but...

“Jango” by Miquel Aparici is a creative fusion of form and function, capturing attention with its whimsical design. Constructed primarily from metal components, it depicts a stylised...

Wood was integral to the artistic practice of the late Markku Kosonen of Finland. An important aspect of his work was the ability to express things; cra...

"Cradle to Cradle" apple, commercial wood, screws, 16" x 30" x 30", 2007. This mixed media sculptural vessel was done by San Francisco-based artist, Gyöngy Laky...

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. American Glassware (2010-present) which is presented in a small, wall-mounted vitrine. American Glassware is composed of three glass objects: a “souvenir” Walden Pond ashtray made by me as a multiple; a real souvenir ashtray from the 1964-65 New York World’s Fair; and an authentic “Happy Face” drinking glass from the same era. They are all nestled in crumpled, vintage newspaper from 1967, and are presented together in a dilapidated cardboard box, as if they have been found in someone’s attic or basement. Once again, in a similar manner to the Glass House Ashtray, versions of his Walden Pond ashtray (Walden Pond Souvenir) have been injected into the collectable stream of tag sales and flea markets, creating a souvenir that never existed. The ashtray is screenprinted with an image of Thoreau’s cabin on Walden Pond as pictured on the title page of his book Walden, or Life in the Woods (1854). (The original illustration was created by Thoreau’s sister, Sophia.) Walden Pond Souvenir was originally produced for the 2010 exhibition Renovating Walden at the Tufts University Art Gallery in Medford, MA. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

TONY DAGRADI is an internationally recognized jazz performer, artist, composer, author, and educator. For over three decades he has made his home in New Orleans, performing on tenor ...

"Dan Mask Ivory Coast" is a mask sculpted out of wood with hair and mud. Slit eyes and an opened mouth with a heart shaped face. 6" x 9" x 2" Da...

TONY DAGRADI is an internationally recognized jazz performer, artist, composer, author, and educator. For over three decades he has made his home in New Orleans, performing on tenor ...

In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...

In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...

Roleke creates politically aware work. Her wall reliefs are composed of multitudes of plastic toys, oddly sexualized Disney characters and Happy Meal trinkets. Through investigation ...

TONY DAGRADI is an internationally recognized jazz performer, artist, composer, author, and educator. For over three decades he has made his home in New Orleans, performing on tenor ...

Medium: very old hand-carved bat, old handmade ball, hand-carved wood toy plane, Old wood handmade toolbox, one photo of young men gathered to play baseball ...

Artist Commentary: Remembering formal dinners my mother would arrange in our modest midwestern, suburban home, this piece and it's companion, Conversation Piece...

"Consummation III" by Spanish artist Henar Iglesias is a one of a kind abstract partridge and golden pheasant feather artwork with an optical illusion quality. The work is mounted on...

This mixed media textile sculpture was done by American fiber artist, Norma Minkowitz (b. 1937). Minkowitz mixes her own interlacing technique with the...

Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she takes a daily walk in the woods surrounding her studio and collects tree limbs and long sticks that have fallen to the ground. She never chops down a living tree or uses green wood. Eiferman allows the wood time to cure in the studio to make sure it won’t check or crack. Next, she debarks the branch and looks for shapes found within each piece of wood. Using a Japanese hand saw, she cuts and connect these small shapes together using dowels and wood glue. Then, all the open joints get filled with a home made putty, which is then sanded so she can see the newly formed shapes. This process is until the new sculpture appears like the original line drawing but in space. She wants the work to appear as if it grew in nature, when in fact each sculpture is composed of over 100 small pieces of wood that are seamlessly jointed together. Her work can be called the ultimate recycling: taking the detritus of nature and giving it a new life. We have all at one point or another picked up a stick from the ground—touched the wood, peeled the bark off with our fingernails. Her work taps into that same primal desire of touching nature and being close to it. Trees connect us back to nature, back to this Earth. Her work has a meditative quality to it—a quiet, calming energy. Her influences are many; from looking at nature and plant life on this Earth to researching the heavenly bodies in the images beamed back from the Hubble Telescope. From studying ancient Buddhist mandalas and designs to delving deeper into quantum physics. And from researching mysterious manuscripts to studying the patterns inside our brains. For Invocation, we are exhibiting her newest body of work, inspired by the illustrations found in the Voynich Manuscript. This 250-page book, is believed to have been written in the early 15th century, of a mysterious origin and purpose. Written in an unknown language and currently housed at Yale University’s Beinecke Rare Book Library, the manuscript has eluded all attempts in the intervening centuries to decode or decipher its purpose and meaning. This enigmatic book is divided into 6 different sections (herbal, astronomical, biological, cosmological, pharmaceutical and recipes). Having discovered the images contained in this codex over the Internet, Eiferman felt an immediate, profound and inexplicable connection to this manuscript and its creator. The artist is currently transposing the “herbal” section of manuscript into sculptures. This section has drawings in it of plants and flowers that do not really exist in nature—past or present. These aren’t just pretty images of flowers—they also contain the wacky root systems and seemingly out of proportion leaves, stamens and pistils. Loren Eiferman was born in Brooklyn, NY. She received her BFA from SUNY Purchase. Her work has been exhibited extensively throughout the Tri-State region including gallery and museum exhibitions in the Hudson Valley and Connecticut. Her work is included in numerous corporate and private art collections. In 2014 she was awarded a NYC MTA Arts & Design art commission to produce steel railings...

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...

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 consist...

The intricate retablos of contemporary artist Patrick Fitzgerald are his means of paying homage to the musicians that inspired him throughout his life. Derived from Mexican votive...

Medium: Unusual antique racist carnival baseball toss game-head of racist stereotype Mexican man (hat knocks off when hit with ball), Wall constructed of wood with acrylic paintings & drawings of Mexican asylum seekers and Gandhi's shadow, vintage metal toy...

Lovelace’s Tribute 2018 sung by Christina Tsers This installation is in honor of Ada Lovelace, generally recognized as the first computer programmer. Lovelace was the daughter of ...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

Kathleen Vance explores environmental issues such as water conservation and protection through positive stewardship of the land. She looks to convey an appreciation of nature and tra...

"Dragon Dreams" by Spanish artist Henar Iglesias is a one of a kind green and red 3-dimensional feather artwork on a felt relief. The green feather of the Lady Amherst Pheasant with ...

Dr. Lisa's Ego Championship Trophies Lisa Levy is a painter, conceptual artist, comedian and (self-proclaimed) psychotherapist. Lisa's visual career started when she was 3 1/2 ...

Dr. Lisa's Ego Championship Trophies Lisa Levy is a painter, conceptual artist, comedian and (self-proclaimed) psychotherapist. Lisa's visual career started when she was 3 1/2 ...

Dr. Lisa's Ego Championship Trophies Lisa Levy is a painter, conceptual artist, comedian and (self-proclaimed) psychotherapist. Lisa's visual career started when she was 3 1/2 ...

Dr. Lisa's Ego Championship Trophies Lisa Levy is a painter, conceptual artist, comedian and (self-proclaimed) psychotherapist. Lisa's visual career started when she was 3 1/2 ...

Bill Clark (American, XX-XXI), Found Object Assemblage on Board, 2000, overall painted grey with plaques, register keys, and other objects, ins...

medium: reclaimed button-down, wire, floral tape, brass vase Born in 1971 in Cincinnati, Ohio, CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea C...

This mask was created by an unknown artist from New Guinea. It depicts an elongated face with carved wood and cowry shells for eyes. Mask: 29 x 8 in, incl...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

medium: reclaimed button-down, wire, floral tape, metal vase Born in 1971 in Cincinnati, Ohio, CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea C...

'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...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

medium: trumpet, aluminum (found cans), stainless steel wire, soot, enamel Paul Villinski has created studio and large-scale artworks for more than three decades. Villinski was born in York, Maine, USA, in 1960, son of an Air Force navigator. He has lived and worked in New York City since 1982. A scenic route through the educational system included stops at Phillips Exeter Academy and the Massachusetts College of Art, and a BFA with honors from the Cooper Union for the Advancement of Science and Art in 1984. He lives with his partner, the painter Amy Park, and their son, Lark, in their studios in Long Island City, NY. His work has been included in numerous exhibitions nationally, recently including the solo exhibitions “Paul Villinski: Burst” at the McNay Art Museum in San Antonio, TX and “Passage: A Special Installation,” at the Blanton Museum, University of Texas, Austin. Recent group shows include “Material Transformations” at the Montgomery Museum of Art, Montgomery, AL; “Re: Collection,” at the Museum of Arts and Design, New York, NY; “Making Mends,” at the Bellevue Museum of Arts, Bellevue, WA; and “Prospect .1,” an international Biennial in New Orleans, LA. “Emergency Response Studio,” a FEMA trailer transformed into an off-the-grid mobile artist’s studio, was the subject of a solo exhibition at Rice University Art Gallery, Houston, TX; the exhibition also travelled to Ballroom Marfa, in Marfa, TX; Wesleyan University’s Zilkha Gallery, Middletown, CT; and ERS was featured in the New Museum’s “Festival of Ideas for the New City”, in New York, NY. Villinski’s work is widely collected, including major commissioned public works including “SkyCycles,” three full-scale “flying bicycles...

Flame on Bamboo Garry Bennett, American (1934–2022) Date: 2008 Assemblage Bamboo Lamp, Signed and dated on bottom Size: 10.25 x 5 x 2 in. (26.04 x 12.7 x 5.08 cm)

medium: reclaimed button-down shirts on birch plywood panel Born in 1971 in Cincinnati, Ohio, CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) from London’s Chelsea Co...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

KX2 is a collaboration combining the strengths of artists and sisters Ruth Avra and Dana Kleinman who create mathematically inspired sculpture merging metal and painting. From a dist...

This guitar-sculpture designed by Ken Butler features a compilation of dials, gauges, wires and knobs. The body of the guitar is an actual plastic drill case. This sculpture has a st...

"Kryptonite Wares" is a clever and humorous collection of both superfluous and everyday objects purchased from the Dollar Store. It is a wry comment by the artist on the overabundanc...

Artist Commentary: Paired with "Conversation Piece (erect)" this work was inspired by childhood memories of formal dinner parties in our split-leve...

Eric Rhein “Leaf Winged Male” 1999 Signed, verso Wire, paper, and found objects 26.25 x 21 x 3.25 inches (53.3 x 8.3 cm), framed This work is offered by CLAMP in New York City.

Eric Rhein “Milky Way” 2006 Signed, verso Wire, paper, and found objects 17 x 24 x 2 inches (43.2 x 61 x 7.6 cm), framed This work is offered by CLAMP i...