Conceptual Art

Panel C - Brutality of Creation (Abstract Photography) Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. Edition 6 + 2 AP - Edition 1/6 This new series titled Neuros...

Homages to Mr. Monopoly. Conceptual. Vintage magazines in the background to create the narrative. One of a kind. About the Artist: NELSON DE LA NUEZ is one of the most sough...

II. Marvellous Unconsciousness (Abstract photography) Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. This abstract work is part of the series titled Dichotomy of a...

Miroslav Tichý (*1926, Czech Republic) Untitled, MT Inv. No 3-8-236 Unknown, ca. 1970-1990 Silver Gelatin Print Sheet 16,8 x 11,8 cm (6 5/8 x 4 5/8 in.) Unique Print only Tichý, practically reinventing photography from scratch, reconstitutes pictorialism along with it, and not as a distortion of the medium but as something like its essence. What counts for him is not only the image - just one moment in the photographic process - but also the chemical activity of the materials, which is never entirely stable or complete, and the delimitation of the results via cropping and framing. Marginal and exceptionally voyeuristic, in his methods Tichý could be described as an “art brut photographer” yet he is also marked by classical influences. Though his images are produced with poor-quality equipment and carelessly shot, they offer an idiosyncratic and almost hallucinatory vision of a fantastical, eroticised reality. With his endless return to the same subject and the volume and regularity of his production, Tichý’s work draws many parallels to certain practices of conceptual art during the same period. – Art, Black and White...

Daniel Clifford (born 6 August 1973) is an English chef who is best known for his work at the two Michelin star restaurant Midsummer House. He was also named one of the winners of th...

Patrick is a conceptual artist, curator, and theorist exploring how media shape our perception of reality as well as the borders between the digital and the material. He is best know...

Tacita Dean (British, born 1965) Aerial View of Teignmouth Electron, Cayman Brac 16th of September 1998, 2000 Medium: Gelatin silver print on paper Dimensions: 21 x 26 cm (8 1/4 x 10...

“When I was sixteen I was in a serious car accident that left me with a traumatic brain injury (TBI). As a result, I spent years in psychiatric hospitals before the condition was par...

"Untitled 3.20" Photography 16' x 24' inch Edition of 15 by García De Marina Signed and numbered by the artist Comes with COA issued by the artist García de Marina was born in Gijó...

Archival Pigment Print on Ilford Smooth Pearl paper. Unframed. This abstract work is part of the series titled Dichotomy of a Human Brain. It was created by combining fragments o...

[Wittgenstein Untitled], 1991 Joseph Kosuth Screenprint on glass in the artist's designated frame Signed and numbered from the edition of 75 on a paper label affixed to the reverse...

Style: Contemporary, Modern, Conceptual Small study for the series “Rare Earth"

“My art explores the similarity between seemingly disparate cultures through the lens of my African American ancestry. I examine my family’s plight shaped by the history of racism an...

Style: Contemporary, Modern, Conceptual Small study for the series “Rare Earth"

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 ...

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 ...

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 ...

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 ...

Komar and Melamid (Vitaly Komar and Alexander Melamid), Russian (1943/5 - ) - Life of Tolstoy, Year: 1986, Medium: Lithograph on BFK Rives, signed, dated and numbered in pencil, Ed...

Rebecca Baird, Canadian (1954 - ) - Honor the People and the Sand, Year: 2003, Medium: Monoprint Screenprint with hand coloring, titled in color pencil, Edition: 1/1, Image Size: ...

Rebecca Baird, Canadian (1954 - ) - Honour This land, Year: 2003, Medium: Monoprint screenprint with hand coloring, signed, numbered and dated in pencil, Edition: 1/1, Image Size:...

Rebecca Baird, Canadian (1954 - ) - Honour II, Year: 2003, Medium: Monoprint screenprint with hand coloring, signed, numbered and dated in pencil, Edition: 1/1, Image Size: 29 x ...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 6, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inches...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 1, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inches...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 3, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inches...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 7, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inches...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 2, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inches...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 5, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inches...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 10, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inche...

Les Levine, Irish/American (1935 - ) - Diamond Brooch Series 4, Year: circa 1979, Medium: Color Etching, Signed and Numbered in pencil, Edition: 100, Image Size: 18 x 11.5 inches...

Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end...

Drawing, glass, and light: these three ingredients are the basis of Katherine Jackson’s work. She begins with drawing, which sometimes becomes an end...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

Robert Seng was born and raised in Seattle, served in the US Navy in Vietnam, and finished his BFA and MFA on the GI Bill. He was a founder of Artech, Seattle’s premier art services company, to support his art career. A New York resident since 1986, Seng has worked at Artforum, the Guggenheim Museum and taught at Fairfield University while continuing his studio practice in painting and sculpture. In the mid 1990’s Seng moved into site-specific installation work with collaborator Lisa Hein. Together they have made more than 40 projects with moving light...

The photographer is based in Florence, and is fascinated how his architectural subject matter allows him to control the composition of his image. For many years he has photographed ...

David Borawski lives and works in Hartford, Connecticut, and received his BFA from the Hartford Art School of the University of Hartford. A multi-media installation artist, his work...

David Borawski lives and works in Hartford, Connecticut, and received his BFA from the Hartford Art School of the University of Hartford. A multi-media installation artist, his work...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...

This installation imagines the Radium Girls as abstractd subjects. Repeating a motif of a circle, signifying the mouth, this art object conveys a modern view of the these workers, tied in with repetitive actions in abstracted patterns. 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 instrument...

This series of five transparencies are in an edition size of 3. They are designed to be installed directly onto interior window areas to allow light to pass thru them. These transpar...

This series of five transparencies are in an edition size of 3. They are designed to be installed directly onto interior window areas to allow light to pass thru them. These transpar...

This series of five transparencies are in an edition size of 3. They are designed to be installed directly onto interior window areas to allow light to pass thru them. These transpar...

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...

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...

Jenny Holzer is one of the most important and original artists of the 20th century. Her body of work, with its emphasis on text, is provocative and occasionally frightening, manipulating the language of folk wisdom, pop culture, and government slogan to produce a commentary on global issues including power structures, gender struggle, economics, voting, and warfare. Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York, and shortly after in other cities. Unsigned and commercially produced, they subverted the conventions of advertising, graffiti, and public art. Each essay was in a different eye-catching color to maximize viewers' attention. It was also helpful when one Essay replaced an older one. The texts were derived from her childhood interest in rapturous writings. Holzer tried to emulate a similar style for her essays, yet borrowed from political theorists (notably Mao, Lenin, and Emma Goldman...

"Untitled 2.22" Photography 24' x 35' inch Edition of 10 by García De Marina Signed and numbered by the artist Comes with COA issued by the artist García de Marina was born in Gijó...

Using his inkjet printer as a paintbrush, Jeff Becker creates watercolor-like imagery without Photoshop or filters. Disruptive in nature, the Slurry Series works don't follow the tra...

This flat file installation is a kind of Wunderkammer – a Cabinet of Wonder or Curiosity containing a small idiosyncratic collection of select wonders and oddities of the natural wor...

Using his inkjet printer as a paintbrush, Jeff Becker creates watercolor-like imagery without Photoshop or filters. Disruptive in nature, the Slurry Series works don't follow the tra...