Conceptual Art

Savannah Spirit’s dreamy self-portrait going up the staircase of the Grand Hall at The Metropolitan Museum of Art. Late to the party is a cinematic Cinderella-esque homage to a place...

Greg's witty and charming oil painting on aluminium comes framed in a floater frame which adds 1.75 inches all the way around. "Greg Decker is a visionary painter. His work epitomise...

This is a black and white archival inkjet print on Canson Infinity paper. Hand signed and numbered by the artist, John Baldessari. To commemorate the 40th anniversary of Lincoln Cent...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Oluwatobiloba A...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

Annette Lemieux (American, 1957-) Date: 1994 Medium: photogravure, aquatint (photo etching) and stencil Hand signed and dated lower right. Editioned lower left. Dimensions: Sheet: 22...

Lithograph on paper realized in 1972. Edition of 500, hand signed and numbered in pencil. Published b Giulio Bolaffi Editore. Excellent condition.

A breathtaking homage to the grandeur of knowledge, Reinhard Görner’s Shining Wall of Books captures the luminous beauty of one of the world’s most rever...

Reversal Grey Marilyn was created by Vik Muniz for his 'Pictures of Diamond Dust' series in 2003. The art is 55 x 49 inches and the framed size is 57.75 x 51.25 inches. There is a la...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

God's Gift by Delilah Montoya depicts a woman facing a graffitied wall, with her arms stretched out. Lit candles surround her on the floor. The woman's pose is reminiscent of Jesus o...

Original French poster: CORDIAL TOPAZE; Marie Brizard & Roger Bordeaux wine; original lithographic French 1924 antique poster. Signed but an illegible signature. Size: 18" x 24"...

The painting is being offered with a work and authenticity certificate

John Giorno LET IT COME LET IT GO, 2017 Watercolor on handmade paper Hand signed and dated by the artist on the back of the artwork. The frame features a die-cut window on the back t...

The painting “Everyday Frames” explores the theme of restrictions on women's freedom through the prism of everyday life. The yellow and white cells are both a visual reminder of ever...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gal...

"Goodfellas" is comprised of 3 individual white statues that are meant to be presented as a trio. They are part of a limited edition of 25 of which this is number 12. Each individual...

Shipping Procedure FREE Shipping Worldwide Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authent...

large scale conceptual environmental still life photographs playing with viewer's perspective creating individual letters from found objects spelling the word HOPE H-O-P-E by Christ...

John Baldessari Pillow Cases in Bespoke Presentation Box (one pillowcase hand signed by John Baldessari) for The Thing Quarterly Issue 22, 2014 Silkscreen on 100% cotton 320 thread count sateen pillowcases (Hand signed by John Baldessari) Boldly signed in ink by John Baldessari on one of the pillowcases (see photo) Unframed One of the pillowcases is hand signed in ink by John Baldessari: John Baldessari was one of the artists who were invited to contribute an object (or "thing") with text for a special project for "The Thing" publication (read on for more on "The Thing") ; the conceptual object therefore had to incorporate text. Baldessari's contribution in 2014 was a silkscreened pillowcase with text. A limited (unknown) number of these pillowcases were marketed and sold as a set of two in a bespoke box. However, exceptionally, Baldessari hand signed a very few of pillowcases in ink. This is one of the very special sets bearing one hand signed pillow case - purchased directly from "The Thing". (a copy of the 2014 receipt is shown here.) The rest of these boxed sets were not hand signed. The pillowcase is brand new, and will look gorgeous once pressed and framed by a professional framer. More about this boxed set: Issue 22 of THE THING Quarterly is by LA-based conceptual artist John Baldessari. It consists of two 100% cotton sateen pillowcases featuring an image of a woman clutching a pillow. The black and white image is taken from a Hollywood film still in Baldessari's collection and has been silkscreened on each pillowcase with environmentally-friendly, water-based ink. The pillowcases are standard-sized and envelope-style. For those who like their thread count high, the issue clocks in at a solid 320 thread count. Measurements: Box 10.5 inches by 13 inches by 2 inches Pillow 20 inches vertical by 26 inches What was The Thing Quarterly? THE THING was an experimental publication created in collaboration with Will Rogan as part of an artist residency. We saw it as a quarterly periodical in the form of an object. Each year, four artists, writers, musicians or filmmakers were invited to create an everyday object that somehow incorporates text. The object is reproduced and hand wrapped at wrapping parties and then mailed to the homes of the subscribers with the help of the United States Postal Service. It began as part of an artist residency in San Francisco’s Southern Exposure. Will and I had met in grad school at UC Berkeley and discovered our mutual affinity for quarterlies. He was a librarian at SFAI for five years and I had been a high school teacher for five years. WE were both interested pushing the boundaries of publication. Our plan was to create a 1 year publication with four artists, but from the very start the project generated so much interest and international excitement that we found ourselves running a publication complete with a brick and mortar storefront and a staff of four individuals. After 10 years, 34 issues, 59 projects and countless live events, we decided to end the publication in order to pursue our individual projects. We are still working together on a less ambitious new project, and hope to launch it at some point in 2021. CONTRIBUTORS: have included John Baldessari, Dave Eggers, Miranda July...

This large-scale architectural photograph by German artist Reinhard Görner depicts the The Long Room, an awe-inspiring vista into the Old Library at Trinity College in Dublin, Ireland. The vaulted ceiling arches above, while below a warm, golden light fills the room, illuminating bookshelves and cultural artifacts. The room is flanked by white marble busts of philosophers, writers, and great minds who have shaped the intellectual landscape of the Western world, adding a sense of gravitas and continuity to the space, and bringing public cultural heritage into private space in the rich, glowing tones of aged brown wood, leather and gilt. Reinhard Görner is known for invoking an atmosphere of awe, meditation and contemplation through crisp, richly detailed scenes of grand historical and cultural narratives. This effect is enhanced through aesthetically striking compositions, which might include stunning symmetry, portals through a series of doorways, and other careful choices of perspective and scale. Görner's photography celebrates libraries as both shelters and places of escape. This particular photograph is part of his quest to explore the most beautiful and solemn reading rooms around the world. Görner aims to convey how architects play with shadows, light, proportions, and rhythms to create spaces that breathe beauty and silence. Starting from his work with architect Sir Norman Foster in 2005, Görner has meticulously documented libraries' cathedral-like atmospheres across the globe. His photographs seek to convey the impact of architecture on our awareness of life, showcasing spaces that tell stories and refer to a time when aesthetics and spatial awareness were intertwined. Embrace the tranquility and beauty encapsulated in Görner's art and allow it to transport you to the grand arches and timeless serenity of The Long Room, Trinity College Library. Perfect for art collectors, architecture enthusiasts, and advocates of intellectual history, this piece serves as a gateway to explore the spirit of great builders through Görner's distinctive lens. Reinhard Görner The Long Room, Trinity College Library Dublin Ireland 50 x 62.5 inches Contemporary large scale photograph Signed and numbered on label, verso Edition of 10 Collector gets the next number in the edition Reinhard Görner, with his large format photographs orchestrates the monumentality of rooms. An active architecture photographer since 1985, is a master of perspectives and precise spatial compositions, and he thus considers classical sculpture, in all of its possible facets, a special challenge. "Görner’s photographs sometimes open the doors to another world and take the viewer with them on a journey through time. Here the palace is no longer a museum but both royal residence and a site steeped in history. The viewer does not have to share the halls with the masses of visitors; instead the images offer him exclusive impressions of the Galerie des Glaces (Hall of Mirrors) and the Galerie des Batailles (Hall of Battles) as even the king of France was probably never granted. The halls are empty of people, yet they seem to be able to unfurl their individual characters of their own accord. These places practically breathe history, and this aspect is also part of the essence captured in the photographs. King Wilhelm of Prussia was named German Emperor Wilhelm...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

Flora 33, 2015 by Marisa Culatto Flora 33 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited Edition of 6. Culatto's new series 'Flora...

"Random Thought," a captivating creation by artist John Ali, invites viewers into the enigmatic realm of introspection. The artwork features a young man, his head covered with nylon, adorned by an intricate African bead necklace...

This striking conceptual abstract oil painting is by British artist Penelope Ellis. It was painted in 1963. A superb image and ahead of the conceptual ideas of the swinging sixties a...

Artist: Eric Newton, British (1893 - 1965) Title: Abstract with Animal Figures Year: circa 1955 Medium: Linocut Print, signed and numbered in pencil Edi...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

30 Cents Singapore Orchid Pink, from the Heidler & Heeps Stamp Collection. This historic postage stamps that make up the Heidler & Heeps Stamp Collection, Singapore Series 'Postcards...

This striking conceptual abstract oil painting is by British artist Penelope Ellis. It was painted in 1963. A superb image and ahead of the conceptual ideas of the swinging sixties a...

Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...

This was from Muse X publishers. It came in a plastic bag signed Emily Cheng. (the plastic bag is not included) It is on Fuji crystal photo paper. It depicts two Asian faces in a cub...

In the captivating piece titled "Solace," artist John Ali unveils a profound exploration of introspection through the gaze of a young woman lost in thought. The poignant portrayal ca...

Artist: Hans Bellmer, German (1902 - 1975) Title: Les Milles en Feu Year: 1970 Medium: Etching, signed in pencil Image Size: 12 x 15 inches Paper Size: 20 x 26 inches

"Dialogue," a thought-provoking creation by artist John Ali, beckons viewers into a realm of symbolism and introspection. The artwork features a young man with his head covered in ny...

Joe Zucker The Relocation of Property by Natural Forces Rubber stamp print on Arches 88 paper Stamp made by Unity Engraving Company, Inc. Printed by Aaron Arnow Paper size: 8 x 8 in...

This captivating oil on canvas, titled "A Big Catch," invites you to ponder the bravery of pursuing your aspirations. The surreal and symbolic elements blend with a pop art sensibili...

Blue Minimal Painting. This is an original artwork realized by TUSET in 2019. We can frame it in natural wood or black on request. The dimensions of the painting are 41 x 29,5 cm. W...

This new series of works by the multidisciplinary artist TUSET (1997, A Coruña) shows us a completely unique dynamic. In these works he uses the concrete of the construction as picto...

Black And White Minimal Painting is an original artwork realized by TUSET in 2019. The work is unframed but has a rigid support on the back. The title of this works is "From the A...

Haystack, After Monet #3 was created by Vik Muniz for his 'Pictures of Color' series. The art is 47.5 x 67 inches and the framed size is 52.25 x 72.5 inches. There is a label on the verso with the artist's signature and edition number AP 1/5. From the total edition of 15 of which there were 10 Arabics and 5 APs. Framed in the original artist's frame. Literature: Pedro Corrêa do Lago, Vik Muniz: Obra Completa 1987-2009, Rio de Janeiro, 2009, pg.456. Vik Muniz — Haystack, After Monet #3 (from Pictures of Color) Vik Muniz’s Pictures of Color series stands at a pivotal moment in the evolution of visual culture. Conceived for the Venice Biennale, the series responds to the year when digital cameras first outsold film cameras worldwide, a symbolic tipping point in how images are made, shared, and believed. While exploring Venice’s long tradition of mosaic art, Muniz recognized a striking parallel between ancient mosaics and the emerging digital pixel: both construct images from countless discrete units, inviting viewers to experience perception as an assembly of parts. In Pictures of Color, Muniz replaces the pixel with a tactile, analog counterpart: Pantone color chips. Each work is composed of thousands of hand-placed squares, arranged with meticulous precision to form images that appear crisp and cohesive at a distance. As the viewer approaches, the illusion dissolves into grids of pure color. This oscillation between clarity and fragmentation, between image and code, lies at the heart of the series. Muniz reveals the mechanics behind seeing in the digital age, prompting the viewer to consider how images are built, translated, and trusted. Within this broader project, Muniz created a subseries dedicated to reinterpreting Monet’s iconic haystacks. Monet’s original paintings...

Overall Size: Height 200cm x Width 300cm ( The painting consists of 2 parts, one part: 200x150cm ) Overall Size: Height 78,7402 Inch x Width 118,11 Inch ( The painting consists o...

From the 2018 Singapore Series, Postcards from afar. This artwork is a limited edition of 25, gloss photographic print. Accompanied by a signed and numbered certificate of authentic...

This is a large sculpture and also includes an artist custom framed silkscreen with extensive handwork titled Line of Time, pencil signed and inscribed, presented in heavy metal and ...

An original sculptural installation by contemporary conceptual American artist Bethany Krull. This work titled The Swamp features a series of individual concrete cups each with a se...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck arrived, but in that moment it was a revolving abstraction of potential, delineation, growth, and destruction. Once filled it was gone: the plywood was stripped away, the earth was backfilled. To suspend that moment he began building models of formworks. Leaving them unfilled, they are perpetually unfinished. From models based directly on architecture, Horstman expanded to forms found in the landscape. Making a formwork that depicts constraint upon the landscape is not exactly a reversal of the formwork’s function, but it asks different questions than a formwork designed for a building would. Why would you make a cement creek? What is the relationship between a flowing creek and poured cement? Is this a barrier or just delineation? For River Woman ODETTA, in addition to several small sculptures in the Flat File, Horstman will install Formwork for the East River, which describes that river’s shape as it flows from Rikers Island to the tip of Manhattan. The 3 x 18 x 7 foot sculpture...

Scott Froschauer is an experimental artist who lives and works in Los Angeles, where his primary focus is exploring new spaces and techniques for communication. This series "Word on ...

Shipping Procedure Ships in a well-protected tube. This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Oluwatobiloba A...

Verve 29/30 Author: Picasso, Michael Leris Year: 1956 Publisher: Harcourt Brace & Company, New York Title: Verve 29/30. Suite de 180 Dessins de Picasso...

Flora 11, 2015 by Marissa Culatto Flora 11 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited Edition of 6. Culatto's new series 'Flora...

The sea has long symbolized freedom, peace, and the simple joy of being close to nature. In this painting, however, the shoreline is interrupted by a barrier—a quiet reminder that ev...

The paper of the work is not yellowed, there is a applied yellowed primer under the drawing Krzysztof Gliszczyński is Professor for painting o...

The Silent Grace captures the serene profile of a woman, adorned in a bright yellow dress and matching hat, embellished with vibrant patterns. Her deep purple complexion contrasts be...

This limited edition portrait by Natasha Lelenco, titled Mr. Bucles, is number 15 in a hand-finished series of 20 works based on her acclaimed project The Important Bigwigs (2021). E...

Large-scale oil on canvas by Italian conceptual artist Francesco Correggia, titled "Nevermore," created in 2013. This signed original work measures 78 x 59 inches and is in new condi...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Mic...

large scale monochromatic abstract observation of mesmerizing atmospheric color palette, from Raymond Meier's series Renderings Sky (Rendings 04) by Ray...

Reinhard Görner captures the monumentality of the Beinecke Rare Book & Manuscript Library, Yale's principal repository for literary archives, early manuscripts, and rare books...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Mel Chin, American (1951 - ) - Self-Portrait (Bison and Hare), Year: 1996, Medium: Etching on BFK Rives, signed, numbered and dated in pencil, Edition: 25, Image Size: 11 x 21.5 ...