Conceptual Art

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...

Collage by Torea Frey created using found papers from vintage dictionaries and thesauruses, graphite powder, and matte medium. Torea is a writer,...

Mixed Media. Female centric. About the Artist: Cabell Molina is a contemporary artist transplanted from California to the east. Where Cabell has proved herself exceptional is ...

Delightful 1950s French Refrigerator Poster — “Armoires Frigorifiques Commerciales GEL” — Linen Backed, Original! Grade A, Å- condition. Very fine! Searching for the coolest piec...

This is a proof print. signed and marked bat (for bon a tirer or good to print) This is a single print from 1998 Birds. Suite of eight Cibachromes. Edition of fifteen. 10″ × 10″. Mus...

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...

In the compositions, the gaze is attracted by an interplay of harmonious balances between full and empty spaces, which compel the regarding to an observation dynamic approach in orde...

Andreas Nottebohm is a German painter known as a key innovator in metal painting. The painting measures 48 x 40 inches and is signed and dated verso. Provenance: Private Collection, NYC

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

Jacob and Wilhelm Grimm Centre Berlin Germany 2019 70 x 87.5 inches 177,8 x 222 cm Edition of 5 signed and numbered on label, verso In Jacob and Wilhelm Grimm Centre, Reinhard Gör...

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...

"Magic Spoon" is a conceptual sculpture by Zura that transforms an ordinary everyday object into a playful meditation on perception, scale and the way we experience the world. At th...

Oil on canvas. Dramatic. Female centric. Nighttime. Mysterious. About the artist: “There's a dry ironic twist to Paul’s paintings that give the work — while realistic — a postmodern feeling of reflection, observation and cultural critique. Somewhere between the Cohen Brothers...

Jacob and Wilhelm Grimm Centre IV Berlin Germany 2019 50 x 75 inches 127 x 190,5 cm Edition of 7 signed and numbered on label, verso In Jacob and Wilhelm Grimm Centre IV, Reinhard...

2 cool ducks floating. Fun. About the Artist: Jim Molloy is a studio and plein air painter. "I like to try to find and capture the beauty and simplicity of the world around u...

"Self Reflection " In the early 1970's Mitchell Funk was a trailblazer of color photography. In this stunning portrait the photographer merges naturalism and representation with abst...

This work is the result of an artistic residence outside his "study”.The artist worked on a different ecosystem, a house of vernacular architecture built in 1913 in the department of...

This enigmatic lithograph titled “Dramma in Nove Versi” (Drama in Nine Verses) presents a Conceptual Art exploration of text and visual poetry through Textual Art practices. The comp...

Landscape Near & Far by Carole Seborovski, American (1960) Date: 1985 Charcoal Drawing on Toned Paper Size: 26 x 19 in. (66.04 x 48.26 cm)

The photograph Toshio Shibata, #189 Yunotani Village, Nigata Prefecture, 1989 by Japanese photographer Toshio Shibata is signed (on recto) by the photographer. The 13" x 19" print is numbered on recto (front of photo). Available: 87/100; 52/100. Printed in 2005, the photograph is from a portfolio of masters of Japanese photography...

Joseph Beuys Blatt auf Karteikarte (from Columbus: In Search of a New Tomorrow), 1992 Color silkscreen on vellum parchment paper, held in original portfolio sleeve Signed by Eva Beuy...

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...

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. Centered on mental health and its “invisibility”. This painting explores the mental and emotional conflict caused by dissociation between Imposed labels and self-identity. In the worthy pursuit of freedom from the endless constructs of this world, we hope to not become imprisoned by our minds. About Artist Gbemi Smart...

"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...

N. Levi (signed in Hebrew and English) Menorah Done in a brutalist design with the Hebrew words "Seek the peace of jerusalem" Dimensions: 8 X 9 X 2.5 inches This appears to be silver plated as I do not see a silver standard mark or hallmark. There has been a resurgence of fine artists making Judaica, There was initial generation of the Bezalel School in Jerusalem and later Ludwig Wolpert at the Jewish Museum in New York City, whose spare, geometric, functionalist style was influenced by the Bauhaus school in particular and modernism in general, Moshe Zabari, Maxwell Chayat, in New York, Menachem Berman...

Flora 2, 2015 - Seasonal Floral Arrangement with Daisy and Snapdragon Print Flora 2 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited E...

An accumulation sculpture of paintbrushes by the great accumulator sculptor, Arman. This work features 13 paintbrushes with various shades of paint in oranges, greens, and reds again...

1970s Tano Festa Signed and Dated Drawing Important work in marker on cardboard by the great Roman artist Tano Festa, one of the major exponents, together with Mario Schifano, of th...

Concerning the Potez 63 by Robert Andrew Parker, American (1927–2024) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 250, AP Image Size: 16.5 x 17 inches Size:...

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...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. 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...

The celebration of life and death in Yoruba land is deeply connected to the use of Aso Oke, a traditional and cultural wear of the Yorubas. The ones used in Ondo to celebrate the liv...

Artist: Chryssa, Greek (1933 - 2013) Title: Chinatown Portfolio II, Image 9 Year: circa 1978 Medium: Serigraph, signed and numbered in pencil Edition Size: 150 Size: 40 in. x 30.5 ...

Flora 30, 2015 by Marisa Culatto Flora 30 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...

Candida Höfer (German, b. 1944) Deutsche Oper am Rhein Düsseldorf, 2012 Medium: C-Print on photo paper Image dimensions: 30 x 45,5 cm Sheet dimensions: 38 x 53,5 cm Edition of 100: H...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. ...

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...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Jennifer Greenburg challenges social norms and the nature of vernacular photographs in her series Revising History. Interjecting herself in mid-century images from the 1940’s – 60’s,...

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...

Robert Smithson Movie Treatment for Spiral Jetty, Dwan Gallery Poster, 1970 Offset lithograph poster 38 × 22 inches Unframed Rare, historic poster feature...

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...

Painting made by Peter Kramer with a t-shirt found on Malpica beach, belonging to a ship painter. The painting is made with handmade tissue paper. The measurements are 80 x 80 cm. F...

Provenance: Greenberg Van Doren Gallery Stock Pages (The New Antiquity) by Tim Davis, 1969 – Date: 2009 Medium: Chromogenic Print, signed in pen on verso Edition: 1/6, 2 AP's Size: ...

This work is the result of an artistic residence outside his 'study'.The artist worked on a different ecosystem, a house of vernacular architecture built in 1913 in the department of...

Sorry for the reflection on the plexi. In the early 1980s, the Polaroid Foundation invited Hungarian-born painter and photographer György Kepes (1906-2001) to use the 20x24 Polaroid ...

Andrés Nagel - UNTITLED 5 Date of creation: 1991 Medium: Etching and collage on Paper Edition: 75 Size: 98 x 69 cm Condition: In very good conditions and never framed Observations: E...

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...

The painting is being offered with a work and authenticity certificate

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...

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...

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 thematic expression of this art piece was crafted from the experience of what women especially wives and mothers had to go through to ensure that their homes were sustained. This art piece tends to inform her female audience; most especially intending wives and mothers that what keeps the home is not primarily in the acquisition of degrees and certifications but in having the requisite knowledge and consciously fulfilling their role as home builders. About Artist Oluwatobiloba Amusan...

This bold graphic piece fantastically captures the iconic Italian Olivetti Typewriter. This artwork is a limited edition of 25, lustre photographi...

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...

The work is on 1 paper. Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be...

Mark Hilltout has always been drawn to the random, the discarded and the broken. Car dumps fascinate him - he is attracted to the broken edge, not the perfectly straight line. For th...

This year, 2024, the artist Ruth Vidal (1998, Isla de Arousa) launches her latest research into painting and games. These works are based on the references that the artist draws from...

Flora 35, 2015 by Marisa Culatto Flora 35 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...

Anne Collier produces sparse still lifes of found objects using a technique of re-photography that is informed as much by West Coast conceptual art practices as by product photograph...

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