Conceptual Art

Artist: Chryssa, Greek (1933 - 2013) Title: Jobs and Employment Classifieds Year: 1982 Medium: Monoprint Silkscreen, signed l.r. Image Size: 29.5 x 21 inches Size: 39 in. x 29.5 in. ...

An homage to the famed Barbie Doll. About the Artists: Animated through an assemblage of analog, digital, and lenticular photographic technologies, these selections from Reisig a...

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...

An early example from pioneering Female Cartoonist/ Illustrator Edwina Dumm, who draws a comic strip from her long-running cartoon series Tippie which lasted for almost five decades. Signed and dated Edwina, 9-25, matted but unframed. Frances Edwina Dumm (1893 – April 28, 1990) was a writer-artist who drew the comic strip Cap Stubbs and Tippie for nearly five decades; she is also notable as America's first full-time female editorial cartoonist. She used her middle name for the signature on her comic strip, signed simply Edwina. Biography One of the earliest female syndicated cartoonists, Dumm was born in Upper Sandusky, Ohio, and lived in Marion and Washington Courthouse, Ohio throughout her youth before the family settled down in Columbus.[1] Her mother was Anna Gilmore Dennis, and her father, Frank Edwin Dumm, was an actor-playwright turned newspaperman. Dumm's paternal grandfather, Robert D. Dumm, owned a newspaper in Upper Sandusky which Frank Dumm later inherited. Her brother, Robert Dennis Dumm, was a reporter for the Columbus Dispatch, and art editor for Cole Publishing Company's Farm & Fireside magazine. In 1911, she graduated from Central High School in Columbus, Ohio, and then took the Cleveland-based Landon School of Illustration and Cartooning correspondence course. Her name was later featured in Landon's advertisements. While enrolled in the correspondence course, she also took a business course and worked as a stenographer at the Columbus Board of Education. In 1915, Dumm was hired by the short-lived Republican newspaper, the Columbus Monitor, to be a full-time cartoonist.[2] Her first cartoon was published on August 7, 1915, in the debut issue of the paper. During her years at the Monitor she provided a variety of features including a comic strip called The Meanderings of Minnie about a young tomboy girl and her dog, Lillie Jane, and a full-page editorial cartoon feature, Spot-Light Sketches[3]. She drew editorial cartoons for the Monitor from its first edition (August 7, 1915) until the paper folded (July 1917). In the Monitor, her Spot-Light Sketches was a full-page feature of editorial cartoons, and some of these promoted women's issues. Elisabeth Israels Perry, in the introduction to Alice Sheppard's Cartooning for Suffrage (1994), wrote that artists such as Blanche Ames Ames, Lou Rogers and Edwina Dumm produced: ...a visual rhetoric that helped create a climate more favorable to change in America's gender relations... By the close of the suffrage campaign, women's art reflected the new values of feminism, broadened its targets, and attempted to restate the significance of the movement.[4] After the Monitor folded, Dumm moved to New York City, where she continued her art studies at the Art Students League. She was hired by the George Matthew Adams Service[5] to create Cap Stubbs and Tippie, a family strip following the lives of a boy Cap, his dog Tippie, their family, and neighbors. Cap's grandmother, Sara Bailey, is prominently featured, and may have been based on Dumm's own grandmother, Sarah Jane Henderson, who lived with their family. The strip was strongly influenced by Mark Twain’s Adventures of Huckleberry Finn, as well as Dumm’s favorite comic, Buster Brown by Richard F. Outcault. Dumm worked very fast; according to comics historian Martin Sheridan, she could pencil a daily strip in an hour.[6] Her love of dogs is evident in her strips as well as her illustrations for books and magazines, such as Sinbad, her weekly dog page which ran in both Life and the London Tatler. She illustrated Alexander Woollcott's Two Gentlemen and a Lady. For Sonnets from the Pekinese and Other Doggerel (Macmillan, 1936) by Burges Johnson (1877–1963), she illustrated "Losted" and other poems. From the 1931 through the 1960s, she drew another dog for the newspaper feature Alec the Great, in which she illustrated verses written by her brother, Robert Dennis Dumm. Their collaboration was published as a book in 1946. In the late 1940s, she drew the covers for sheet music by her friend and neighbor, Helen Thomas, who did both music and lyrics. During the 1940s, she also contributed Tippie features to various comic books including All-American Comics and Dell Comics. In 1950, Dumm, Hilda Terry, and Barbara Shermund...

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 Sayeed Momoh is...

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

The Fast The Furious & The Nothing : Real Racing Ducati 900 motorcycle Artist signed, title on the back. Federico Brondi Zumino (UMA) is an Italian artist, born in Genoa on March 24th, 1972. At the age of five he took his first music lessons in guitar and piano. Federico received his first painting classes from hi mother, Laura De Micheli, the Genoes painter. Upon the age of eleven he began to draw and paint. At the age of 18 he obtained his high school diploma from the Nicolo Barbino artistic High School in Genoa with exemplary marks. At the age of 19 he devoted himself to the study of piano for many years becoming an excellent composer. At age 21 he attended La Linguistica Academia Delle Belle Arti in Genoa, whose president at the time was the artist Raimondo Sirotti...

This painting was exhibited at the art exhibition in Innsbruck (Contemporary Art Fair 2019), as well as in Marbella (Excellence Art gallery), Florence (Art Expertise), and Madrid (APPA art gallery). "Remember?" is a conceptual science painting...

Flora 29 is a stunning and vibrant Giclée print on Ultra Bright Hahnemuehle paper. It is available in one size only in a limited edition of 6 prints. Culatto's new series 'Flora'...

Vertical Phythms - Animal Painting - Oil on Canvas By Marc Zimmerman Marc Zimmerman creates playful paintings, whether deep mysterious jungle or delightfully whimsical florals. His...

Jose Sierra work is deeply influenced by themes of self-representation and a homoerotic gaze. Through his unique aesthetic, he creates abject staged environments that challenge tradi...

Anish Kapoor Poster for Svayambh at the Royal Academy, London (hand signed by Anish Kapoor), 2009 Offset lithograph poster Boldly signed by Anish Kapoor on the lower right front 21 ×...

Original vintage linen backed, travel poster to INDIA The Wonderful Land. The center image of this poster is the Taj Mahal at Agra, India with the Qutb Minar minaret red tower...

In this self portrait, Savannah Spirit turns the tradition of black and white female portraiture back on itself. The muse is the artist, and the gaze is her own. Through her artistic, social and curatorial projects, Spirit also takes on technology and social media censors, who assume that the unclothed body of a human, especially of those who identify as female, is pornography that must be controlled. Her artwork asserts that a woman is her own muse. Archival pigment print on Hahnemühle Photo Rag. Press FORBES: Savannah Spirit Wants to Trigger Your Trump VICE: Erotic Art Fights Trump with Scenes of Female Pleasure BULLETT: The Art Show Fighting Fascism with Erotica HUFFINGTON POST: Artists Are Resisting Trump's Misogyny with Erotic Art DAZED: The Erotic Show Taking on Donald Trump Archival pigment print on Hahnemühle Photo Rag. Published: City Journal Huffington Post The Color Theory Expert Snap The Nation Global Yodel THE magazine Live Mag! The Villager Ravelin D/Railed Magazine Open Letr Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...

Robert Booth is a Western New York visionary conceptual sculpture artist known for his haunting and thought-provoking creations. His work takes viewers on...

Original 1950s SAS Scandinavian Airline System travel by air vintage poster. Linen backed in B+ condition. This poster was restored to the top and bottom left corners. Ready t...

Jenny Holzer USE WHAT IS DOMINANT IN A CULTURE TO CHANGE IT, 2003 Hand Blown Glass Bowl 4 × 10 × 10 inches Edition 68/200 Signed and numbered 68/200 on the underside with Holzer's in...

Erotica to save our souls. Archival pigment print on Hahnemühle Photo Rag. ARTSY: May 28, 2019: The Photographers Fighting Instagram’s Censorship of Nude Bodies, by Kelsey Ables. ...

Artist: Robert Morris, American (1931 - ) Title: Separate Walkways: The Wardens Above, the Inmates Below from In the Realm of the Carceral Year: 1979 Medium: Aquatint Etching, signed...

large scale photograph from a series of conceptual motivational messages on classic Americana billboard signs in landscape of the American West BACK I...

large scale original photograph from a series of conceptual motivational messages on classic Americana signs in landscape of the American West YES by Frank Schott 58 x 81 inches (...

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...

This sculptural installation incorporates running water and and interior light which activates the scene of a streambed along a grassy knoll. Kathleen Vance is an environmental artist who creates projects that connect people to local aspects of nature that are overlooked or under appreciated. With the series “Traveling Landscapes” Vance creates miniature landscapes with running streams and rivers inside vintage suitcases and trunks...

Wave Theory is a painting from the collection "Wave Theory", was participated in the Swiss Art Expo 2021 in Zurich. It is a part of the science art collect...

Samuel Field's still life of an Olivetti Typewriter, is given depth in the orthochromatic process he has used. Isolated in monochrome you appreciate the details of this vintage utili...

An introvert finds peace Away from crowds, their soul releases The noise of the world, does cease And in silence, they find their ease Their thoughts, they ponder with care And in t...

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

Born in Nice in 1928, Armand Pierre Fernandez (1928 - 2005) showed a precocious talent for painting and drawing as a child. (Inspired by Vincent van Gogh, he signed his early work wi...

Four oils on canvas glued on an aluminium plate tinted by acrylique Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to pai...

"Garment of Hope," a poignant masterpiece crafted by the skilled hands of artist John Ali, invites viewers into a world where innocence and resilience converge. This evocative artwor...

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...

Eastman Kodak HDPE polyester film viewing machine reel, signed open edition Kojun is an self-taught multimédia American artist born in 1977 based in Tokyo, Japan since 1999. Kojun p...

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...

Lourdes Teleferique du Beout original French antique poster. Archival linen backed in very fine condition. The artist Hubert Mathieu created ...

Artist: Terry Allen, American (1943 - ) Title: Details from the Text - G Year: 1981 Medium: Lithograph, signed and numbered in pencil Edition: 20/32 Size: 31 x 23 in. (78.74 x 58.42 ...

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...

Artist: Joe Tilson, British (1928 - ) Title: Water Year: 1972 Medium: Silkscreen and Collage on Rice Paper, signed and numbered in pencil Edition: 26/70 Size: 38 in. x 26.5 in. (96.5...

A composition resembling a collage, created by American Pop Artist Robert Rauschenberg. Multiple images of noteworthy American figures, such as the Kennedy family, are overlaid above...

The inspiration for this work was gotten from the view of some African parents, most of our African parents believe that earrings and dreadlocks are meant for ladies and when they ha...

This set of four original works by Natasha Lelenco belongs to the "Exchange Currencies" series, a project that reflects on migration, foreignness, and the human experience of displac...

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...

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...

Artist: Christo, Title: Running Fences yellow Series: Running Fences Date: 1976 Medium: Offset Lithograph Dimensions: 25.25" x 39.5" Signature: Signed Edition: 1000

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...

60 x 40 inches ed. of 10 $6,000 75 x 50 inches ed. of 7 $9,000 90 x 60 inches ed. of 5 $11,000 signed and numbered on label, verso Reinhard Görner, with his large format photogra...

Showing a body that is hidden is the aesthetic apology for the insane judgment that the artist himself has taken as an excuse for not being 'pointed at' or rather as self-pointing. T...

LETTER O by Christian Stoll large scale conceptual photography playing with viewer's perspective incredible details in this body of work, a series of environmental stills playing w...

Ed Ruscha (American, b.1937) Some Los Angeles Apartments, 1965/1970 Medium: Artist’s book (black offset printing on 100 lb. white Vicksburg Vellum text paper) Dimensions: 17.8 x 14 x...

Showing a body that is hidden is the aesthetic apology for the insane judgment that the artist himself has taken as an excuse for not being 'pointed at' or rather as self-pointing. T...

Dennis Hopper, (American, 1936-2010) Mixed media sculpture "Outmolding Older Concepts (Wilhold Up the Mirror)", 1961, photo and assemblage, Ace gallery and Easy Rider Production labels verso 27"h x 40"w x 5"d. There is broken mirror glued into the wooden collage box with the ceramic head that is attached to the front. I assume that is how it was made. Provenance: Estate of Pentti Kouri, NYC; Ace Gallery, Los Angeles; Exhibited MOCA, Los Angeles, 2010 From a 1997 interview with Hopper where he references this piece "Right now it's very intense. I had a show that travelled Germany, about 15 different museums. Sunday we go to Denmark; I'm showing the early assemblage I did in 1961 which was the signal for conceptual art. I'm just two days there, then I'm going to Venice to meet Julian Schnabel - Count Volpe's given us a place to paint in Giudecca. Then I'm going to Documenta in Germany to hang another show, then I go back to LA on the 21st and start a film on the 23rd." Notes/Literature: Dr. Pentti Kouri(1949-2009) was a Finnish economist and venture capitalist with partner George Soros. He built his prestigious art collection with the goal of opening a private art foundation focused on his interests in Minimalism, Arte Povera, Conceptual and Text-based art. He was a member of the Board of Trustees of Dia Art Foundation, and on the boards of Tate, London and the Guggenheim Museum, New York. In addition, a portion of his collection forms the core of the Kiasma Museum of Contemporary Art in Helsinki, Finland Hopper made his film debut alongside James Dean in 1955's Rebel Without a Cause. Both lost souls from dysfunctional households, they gravitated to each other, smoked dope and took joy rides. When Dean died, Hopper saw himself as the natural inheritor of his rebellious mantle and, revelling in his nickname of "Dennis the Menace", gave it to Hollywood with both barrels; so they dropped him. Dennis didn't make another Hollywood movie for seven years. Frustrated by the deliberate stifling of his film career, Dennis turned to art and photography for creative stimulus, beginning with abstract subjects such as landscapes. His cutting-edge conceptual art became established round the world, with exhibitions in major cities. At home in the dining room stood one particularly interesting work, a white plastic box, eight feet long, that had an aluminium shaft sticking out of it, and two very large balls. It was called The Perpetual Erection Machine. Before Tracy Emin and Damien Hirst, there was Dennis. In 1961, Hopper took part in an international photography competition in Australia with a contribution of five abstract photos, which he called Pieces. He won first place. Soon after, Hopper married Hayward, daughter of the film producer Leland Hayward, whose credits include The Sound of Music and South Pacific. The wedding party of Hopper and Hayward was held in August at the apartment of actress Jane Fonda, a childhood friend of Hayward, who introduced Hopper to her younger brother Peter Fonda. Their daughter Marin was born in 1961, and they moved to Bel Air, California. Soon afterward the famous Bel Air fire destroyed their home, including approximately three-hundred Abstract Expressionist works and hundreds of pages of poetry that Hopper had begun in the mid-1950s. Hopper and his actor friends Dean Stockwell and Russ Tamblyn were close to many artists in California, especially assemblage artists Edward Kienholz...

Enduring Echoes portrays a striking and vibrant portrait of a man, set against a bold and contrasting background. The artist uses a rich palette of purples, reds, and oranges, highli...

In the captivating artwork titled "Comfort Zone," artist John Ali masterfully captures the essence of introspection and the complex interplay between identity and personal space. The...

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 ...

Artist: Tschang-Yeul Kim, Korean (1929 - ) Title: Water Drops Year: 1988 Medium: Screenprint, signed and numbered in pencil Edition: 300 Size: 43.5 in. x 29 in. (110.49 cm x 73.66 cm)

In this mesmerizing macro photograph, Görner masterfully captures the delicate interplay between form and color within a flower's intimate landscape. The soft, diaphanous pink petals...

Digital Art. Female theme. Blue hue. Produced on metal with white 2 inch border. About the Artist: Chad is more than just a freelance artist, he is the Head of 3D Design at Nike and not so long ago retired from an exciting career as a professional skateboarder that ran from 1998-2011. Nowadays, when he isn’t working for Nike, his unique artwork is enjoyed by people around the world. Chad Knight...

This piece belongs to the "Exchange Currency Series" created by Natasha Lelenco in 2024, starting from the concept of the "face" on coins. Conceptually, the artwork is part of a proj...

a monochromatic photographic homage to artist Ed Ruscha from a series of iconic Americana roadside billboard signs and conceptual signage BILLBOARD by Frank Schott 48 x 76 inches...