Contemporary Art

The Receiving End - 2018 48x60cm, Edition 7, plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label with certificate. Artist inventory PL2018-480...

My Girl (Till Death do us Part) - 2005, 20x20cm, Edition of 10, plus 2 Artist Proofs, Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory #9506...

Artist: Slonem, Hunt Title: Quantum Leap Date: 2025 Medium: Oil on wood Unframed Dimensions: 16" x 11" Framed Dimensions: 20.5" x 15.5" Signature: Signed by Artist on Verso Ed...

"Ocean View" is a contemporary abstract mixed media work on panel by Audra Weaser, with asymmetric organic shapes in shades of golden yellow and dark blue with a shimmering, clouded ...

Terry O’Neill CBE is one of the world’s most collected photographers, with work hanging in national art galleries and private collections worldwide. From presidents to pop stars, he ...

The Easy Dark poster for Julie Mehretu’s exhibition at the Louisiana Museum of Modern Art is a remarkable piece that embodies the energy and complexity of Mehretu’s work. Printed in ...

Wild Things (Till Death do us Part) - 2005, 20x24cm, Edition of 10, plus 2 Artist Proofs, Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory #...

'Rose glow' Printed on Hahnemühle photo rag Baryta 308 Gsm fine art paper, these limited edition photographs are designed to withstand the test of time, preserving the beauty and em...

7 colour silkscreen on bespoke 410gsm Somerset Tub Sized Radiant White Rough Textured M-R 100% cotton paper. Edition of 1163 Hand-signed and numbered by the artist and comes with pub...

Hiroshi Sato's "Corner Street No. 2" (2024) is an original oil on canvas artwork, measuring 36 x 28 inches. "Corner Street #2" is sold unframed but is ready to hang. This unique art...

David Shrigley, Be Yourself Just Be Yourself, 2025 22 colour screenprint with varnish overlay on Somerset Tub Sized 410 gsm paper 56 x 76 cm (22.04 x 29.92 in) Edition of 125 Han...

large scale photograph capturing the soothing tones of nature's calming blue hour color palette Seascape I by Frank Schott 48 x 64 inches / 122cm x 162cm signed edition of 7 30 x 40 inches / 76cm x 102cm signed edition of 25 archival fine art pigment print signed & numbered by artist on certificate label ------------------------- Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Hiroshi Sugimoto, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco. _________________________ Edition EKTAlux publishes an evolving curated selection of collectable large-scale photography in strictly limited editions, working closely with each artist to guarantee state-of-the-art museum level print and framing quality. Custom / larger print sizes available on request Images can be printed with white border ( 2in L prints / 4in XL prints )

Black and white fine art long exposure waterscape - landscape photography. Archival pigment ink print as part of a limited edition of 8. All Gerald Berghammer prints are made to orde...

Hajime Namiki, 'Garyu no sakura (The Lying Dragon Cherry Tree, Gifu)', color woodcut, 2003, edition 200. Signed in pencil and with the artist’s red seal....

Highly detailed still life photograph of the King of Pop 's glamorous Swarovski crystal rhinestone glove, capturing intricate details of the iconic bespoke handstitched concert acces...

TWELVE CHAIRS GALLERY David Datuna’s Hungry Artist (2021) extends the themes of his 2019 performance at Art Basel Miami Beach, where he consumed Maurizio Cattelan’s banana installati...

White Glove (Michael Jackson) by Tom Schierlitz, a highly detailed still life photograph of the King of Pop 's glamorous Swarovski crystal rhinestone glove, capturing intricate detai...

The pronounced technique is the first thing that strikes you when viewing the works of Jan Grotenbreg (1946). It is innovative and unique. The result of...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

'Melt with You' part of the series 'Hands down' - 2019 20x20cm, Edition of 7/7 and 2 Artist Proofs available. Archival C-Print based on the Polaroid. Signature label and certifi...

"Cheetah (black & white)," Amir Akhavan, 2017 Silkscreen and iridescence on 290 gram Coventry Rag paper Dimensions: 25" x 19.25" Signed and numbered by the Artist in pencil An editio...

Back Country - The painting was created in 2025 by celebrated American realist artist Willard Dixon, who has captured the undeniable beauty of the west for the past 35 years. Dixon’s...

Tenterhooks - 2020 48x60cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Signature label and certificate. Artist inventory PL2020-971. Not...

In this contemporary landscape in oil on canvas mounted on panel, two figures stand by the shore of a beach, gazing out at the deep blue ocean, while fluffy, pale salmon pink cumulus...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

Oil painting on wooden panel realized by Marco Fariello in 2025. Fortune, blind and unpredictable, has always had a central place in the collective imagination, especially in Neapol...

Flora 09 is a vibrant Digital C-Type print in a Limited Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. Photography duo Tortora & Travezan create vib...

In The Colorful Bouquet of Flowers, Walasse Ting presents a vibrant explosion of multicolored flowers, bursting upwards like fireworks on the 4th of July. Set against a soft light bl...

Pete Kasprzak’s passion for city life is expressed in his dynamic urban artworks. Kasprzak’s artworks express energy and life with animated brush strokes. He adds dynamic movement an...

In this contemporary painting in oil on canvas, an interior scene is bright and inviting with a still life arrangement of a green leafy plant in a yellow pot, purple, red and orange ...

Black and white fine art photography. Lifeguard tower on Miami beach with palm trees and beach chairs, Florida, USA. Archival pigment ink print, edition of 9. Signed, titled, dated a...

Hand signed, dated and numbered by artist with pencil. Etching and watercolour Edition of 90 prints plus 15 prints in Roman Numbers and 5 Artist's Proofs.

"Twilight Blush" is an oil painting on canvas by Dennis Sheehan, depicting a wooded landscape, the painted stream lit with the soft glow of dusk. The artist's use of vibrant colors along the horizon evokes the last warmth of the day, the approaching chill of evening perfectly captured in this dreamy glade. This piece is finished in a custom silver frame. Pricing includes the pictured frame. Unframed dimensions are 14 x 23 inches. About the artist: Dennis Sheehan is the second of four boys in his family, and is the only one who has an interest in the arts. Realizing his young son had a passion for art, Sheehan’s father would take him to museums and art shows. Sheehan’s more practical mother hoped he might choose to go into business or law. Once she was convinced that Sheehan was adamant about pursuing a career in art, both of his parents were very supportive. After high school, Sheehan spent the next four years at Vesper George School of Art, in the Boston area, where he studied under Robert Hunter Douglas...

Untitled, Sarayevo Winter Olympic Games 1984, is an etching with aquatint and lithograph in colors realized by Cy Twombly on the occasion of the Winter Olympics Games 1984 in Sarajev...

Atticus Adams' organically composed modern metal sculptures embody the transformative power of contemporary art, illustrating the creation of beauty, meaning, and emotional impact from industrial materials. Using mostly aluminum mesh—generally found in screen doors, windows, and filters—he creates contemporary abstract sculptural artworks and installations, which resemble flowers, clouds, and other natural phenomena. Working in metal, Adams effortlessly transforms rigid material into airy, effervescent artworks. This 35-inch high by 10-inch wide by 8-inch deep tabletop sculpture created from aluminum mesh, gesso, acrylic paint, metal leafing, rivets, wire, and grommets on a metal stand. Size and price include stand. Atticus works spontaneously, feeling his way toward the objects that take shape in his mind as he shapes them almost entirely by hand. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping. A certificate of authenticity issued by the art gallery is included. Atticus grew up in West Virginia, steeped in traditional folk art. Several members of his family are self-taught artists, deeply involved in such crafts as wood carving and quilting. His formal art training includes stints at Yale, Rhode Island School of Design, and Harvard’s School of Architecture. Atticus has fond summer memories of screened-in porches back home and screen doors that practically dissolved the barrier between inside and outside, allowing the warmth and nature to permeate each day. This association continues to resonate in his art. “Metal mesh is a beautiful, flexible material that allows you to explore shadow and transparency in endless ways,” he says. “The material lends itself to these biomorphic shapes, which aren’t necessarily intentional . . . The sculptures seem fragile but are actually quite resilient—like nature itself.” A well-known sculptor, the organically inspired artworks of Atticus Adams are held in public and private collections and are exhibited in galleries and museums across the United States. REPRESENTATION Since 2014 Artspace Warehouse Los Angeles, CA SOLO EXHIBITIONS 2021 Seeking Sanctuary, Zynka Gallery, Pittsburgh, PA 2021 My Hydrangea Kingdom By a Bird Bath Sea, Pittsburgh Botanic Garden, Pittsburgh, PA 2018 There’s a Pink Poodle in my Arcadia, The Pittsburgh Center for the Arts, Pittsburgh, PA Summers of Green Apples with Salt, The Westmoreland Museum of American Art, Greensburg, PA 2016 Mesh Werks, Desert Art Collections, Palm Desert, CA 2015 Shapes & Forms, Desert Art Collections, Palm Desert, CA Mesh Lab: The Experiments, The Mine Factory, Pittsburgh, PA 2014 Arcadia, BE Galleries, Pittsburgh, PA 2013 Summertime, BE Galleries, Pittsburgh, PA 2013 A Joggling Board...

Stripper Performers, Atlanta, 1996 by Leonard Freed is an 11" x 14" vintage print, stamped on verso (back of photo) with Freed's copyright stamp and...

Paper Size: 21.25 x 36.75 inches ( 53.975 x 93.345 cm ) Image Size: 14 x 36.75 inches ( 35.56 x 93.345 cm ) Framed: No Condition: C: Several Signs of use and handling, some visible m...

22 Colour Screenprint with Varnish Overlay on Somerset Tub Sized 410gsm Paper Edition 47 of 125 76 x 56 cm (29.5 x 22 in) Signed, numbered and dated on the back Mint. Minor imper...

Ingrid Smuling Still life in Red 22 x 37 cm ( frame is included in price, size with frame is 35 x 50 cm) Artist Ingrid Smuling, 80 years in August '24, is still most in her element ...

Contemporary acrylic on canvas painting depicting a nude by Polish artist Michal Bajsarowicz. The artwork is an artistic take on human body with abstract elements. Composition is ske...

Black and white candid capture of model Twiggy getting into a car with a man holding an umbrella overhead. Twiggy, is an English model, actress, and singer. She was a British cultur...

Chrome Tutti Frutti, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, pe...

Gerdine Duijsens’ spirited and evocative figures are instantly recognizable and unforgettable. Through lush, bold colors and energetic marks, her paintings emit a sense of pleasure and contentment. Their candid nature brings delight into the rooms in which they hang. Enjoyment is at the heart of her figurative artworks, and the people she creates are always savoring the moment. We can’t help but be charmed by their lust for life. This one-of-a-kind 39 inch square artwork is stretched, wired and ready to hang. Duijsen's painting includes wonderful textures created with an intriguing balance of bold, colorful brush strokes and thin black lines, adding a distinct character to the people and their surroundings. She captures the essence of each figure though her abstract treatment of the artwork. The sides of this unique artwork are painted black. It does not require framing. Gerdine signs her paintings on the bottom in black, blending the signature with her captivating brushwork. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included. Gerdine Duijsens was born in Utrecht, Netherlands, and studied at the Art Academy and the Academy of Fine Arts in Belgium. The work of Gerdine Duijsens is a synthesis between figurative and abstract art. In their unguarded moments, Gerdine displays her characters with a slight derision as their vulnerable and insecure selves, when in their seemingly unobserved moments they briefly try to escape from a world in which status, knowledge, protocols and power keep them prisoner. Her people are "bon-vivants," somewhat blasé, comical, cheerful, and bored. The partying, dining, happy single, and Botox paintings have become Gerdine's trademarks and have generated a steadily growing club of collectors internationally. We recognize the people on the canvasses, they're our families, they're our friends, they're us. They move us and make us laugh. We love them and want to have them with us. We want them with us because they make us happy. REPRESENTATION Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2023 "Postcards From Nowhere", Artspace Warehouse, Los Angeles, CA 2021 “Representation of Imagination”, Artspace Warehouse, Los Angeles, CA 2019 Mixed Exhibition, Byard Art, Cambridge 2019 Affordable Art Fair Hong Kong 2019 Artspace Warehouse, Los Angeles, CA 2018 Affordable Art Fair Hong Kong 2018 Affordable Art Fair New York, NY 2017 Affordable Art Fair Hong Kong 2017 Affordable Art Fair New York, NY 2016 Art Hamptons, NY 2015 Affordable Art Fair Singapore 2015 Affordable Art Fair Amsterdam, NL 2015 Affordable Art Fair, New York, NY 2015 Palm Springs Fine Art Fair, Palm Springs, CA 2015 LA Art Show, Los Angeles, CA 2014 Red Dot Art Fair, Miami, FL 2014 Art Toronto, Canada 2014 Houston Fine Art Fair, TX 2014 Artspace Warehouse, Los Angeles, USA 2013 Galerie Daniel Guidat, Cannes, France 2013 Fondaco Arte Architettura, Rome, Italy 2013 Galerie Patries van Dorst, Wassenaar, Netherlands 2012 Affordable Art Fair, Amsterdam, Netherlands 2012 Affordable Art Fair, Brussels, Belgium 2012 Lille Art Fair, France 2011 Biennale Florence, Italy 2011 Vindemia Art Gallery, Abu Dhabi 2011 Galerie Gerdine, Keulen 2011 HeArt Show, Istanbul, Turkey 2011 Gallery Amersfoort, Netherlands 2011 Affordable Art Fair Amsterdam, Netherlands 2010 Holland Art Gallery, Eindhoven, Netherlands 2010 Fine Fleur Art Gallery, Amsterdam, Netherlands 2010 Gallery Pascale Froessel, Strassbourg, France 2010 The Elephant parade Emmen, Netherlands 2010 Workshop Liliane Fonds, Sri Lanka 2010 Giga kunst Goirle, Netherlands 2010 Mirtos Animal Project 2010 Docters Art Maastricht, Netherlands 2010 Galeria del Arte Breda, Netherlands 2009 Gallery Fondaco, Roma, Italy 2007 Kunsthal Holland Art Gallery, Eindhoven, Netherlands 2007 Museum Bydgoszsz, Poland 2006 Holland Art Gallery, Amsterdam, Netherlands 2005 Holland Art Gallery, Amsterdam, Netherlands 2005 Holland Art Gallery, Eindhoven, Netherlands 2004 Galerie Dejavu, Son en Breugel...

This female nude piece titled "Paradox" is an original artwork made from oil on panel by Lauren Rinaldi. This piece measures 24”h x 18”w. Lauren Rinaldi (b. 1983, Brooklyn, NY) is a...

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

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Signed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architecture, captured with a large format camera to allow epic scale print sizes with incredible image details Marmo di Carrara...

A powerful abstract oil painting on canvas (57.5 x 44.9 inches) by contemporary artist Jean Soyer. This dynamic composition features bold strokes of deep blue and black, created with...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Jesse’s imagery often merges playful and gritty elements, blending floral patterns, vintage-inspired designs, and bold outlines with a touch of whimsy. His artwork exudes a sense of ...

A black, white and glowing orange pigment print of the sun rising through clouds is perforated with a brilliant orange geometric design in this tondo by Ryan Van Der Hout. The precis...

Le Pousseur de Lune is a bronze sculpture by French contemporary artist Marine de Soos, dimensions are 56.5 × 74 × 14 cm (22.2 × 29.1 × 5.5 in). The sculpture is signed and numbered...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always being more obsessed with aesthetics than with simulacrum. If he worships more than one of these predecessors who poured into more outrage, it is freely that he suggests to the imagination to imagine without capturing the fantasy of the viewer. The choice had been made of very high quality prints: cotton fiber base baryta paper without chlorine and high grammage (310 gr / m²), pigment inks. They carry on the back an authentication label signed by Eric Ceccarini The enhancement of this limited edition of 100 copies is ensured by the use of a unique high-quality box to keep the 12 fine art prints This is edition #6/100 Eric is a Belgian artist born in 1965. He gained a Degree in Photography from INFAC, Brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Elle, Marie-Claire, L'Oréal, Levi's, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients. Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. Nowadays in his artistic works, he captures women's essence and soul, transcending mere physical representation. Eric's "AMNIOS" series of soul portraits- the model appear in suspended animation, as if they were about to born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes, now showing us the nude in the ethereal form. These forms are certainly beautiful, yet a membrane, whose function is unclear, separates them from us: is it to hide, or protect? In person, these works are monumental in scale, adding to their sense of restrained power. In the "NUDES" series, Eric uses only natural light, just as a traditional painter would do in their study. Using slow exposure speeds which allow the lens more time to capture each model's unique character, he reveals a sense of the sublime feminine, which borders on abstraction. Eric's nudes are the same, yet different. They are all beautiful, yet their differences and unique qualities are magnified. "NUDES" is a series that celebrates the human form. For "PAINTERS", Eric collaborates with a different painter for each photograph. More than 100 of them have been invited throughout Europe and the other continents. The artist paints the model in their own style, while Eric searches for attitudes, then he photographs the result. In this way, the Painters series represents a fusion of two artistic visions - something that's not always easy to achieve, yet this series epitomizes a sense of cohesion and dynamic ynchronicity. His work has been exhibited in Belgium, United Kingdom, France, Switzerland, The US , China, Singapore, The Netherlands, Germany, Spain… Current galleries where Eric is permanently resident: USA —— New-York city Galerie L’Atelier / Fremin Gallery Greenwich, Connecticut Galerie L’Atelier / Emmanuelle G Gallery...

Synthesis 2 is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, steel, acrylic and LED, dimensions are 125 × 50 × 50 cm (49.2 × 19.7 × 19.7 in). T...

Nu Provencal, Gordes, 1949 by French photographer Willy Ronis is an Iconic contemporary black and white nude photograph. A gelatin silver print, measuring 12" x 9" (image and sheet ...

Black and white fine art landscape photography print. Lifeguard tower with palm trees on Fort Lauderdale's sandy Beach, Florida, USA. Archival pigment ink print, edition of 9. Signed...

Original off set lithograph in black and white with hand colored tinting by the artist. Artist signed, titled and numbered by the artist 47/250. Condition is excellent. Under glass...