Hard-Edge Art

Abstract gouache on paper painting in earth green tones created by Hudson Valley based artist, James O'Shea in 2017. 12 x 12 x 1.5 inches in handmade white wood frame with 8-ply whit...

Original gouache painting on paper. Hand signed lower front by Yaacov Agam. Image size 20.25 x 18.5 inches. Sheet size 29 x 22.2 inches. Frame size approx 33 x 31 inches. Cert...

Taro Yamamoto Untitled Abstract Expressionist watercolor, ca. 1957 Watercolor wash, drips & splatter on rice paper Pencil signed on the front 12 × 16 inches Unframed Mid century mod...

Graphic abstract painting on paper in complementary shades of peach, light orange, and red with details of pale sage green "Untitled 1" by Jenny Kemp, painted in 2019 gouache on paper, unframed 15 x 11 inches Signed verso Jenny Kemp’s abstract paintings are inspired by the artist’s desire to represent unseen phenomenon. With intricate and calculated line-work, the artist builds parallel layers against opaque backgrounds, while shifts in color and shape call attention to organic forms that give reference to the human body or atomic structures. Precise lines seem to vibrate the transitions of color in shades of ruby and blush red complemented by amorphous forms in peach and light orange. Two circles of pale sage green contrast against the areas of red and orange. The drawing is currently unframed, measuring 15 x 11 inches. About the artist: Jenny Kemp received a BS in Art from the University of Wisconsin - Madison and an MFA in Painting from the University at Albany. Her work has been exhibited in galleries and museums across the country, most recently at Gold/Scopophilia* in Montclair, NJ and the Mandeville Gallery at Union College in Schenectady, NY. She has been featured in publications such as 100 Painters of Tomorrow published by Thames & Hudson, New American Paintings, The Huffington Post, Seattle’s City Arts, New York Times, and The New England Review. Kemp is also a recipient of the 2015 NYFA fellowship in painting and the 2015 Emerging Artist Award recipient from the Art Center of the Capital Region in Troy, NY. She sits on the board of Collar Works, an art space dedicated to the support of emerging and under-represented artists exhibiting challenging and culturally relevant contemporary artworks in Troy, NY where she lives and works. EDUCATION MFA - Painting, University at Albany, SUNY 2012 BS - Art, University of Wisconsin, Madison 2002 EXHIBITIONS 2019 Gold / Scopophilia* Art on Paper, Pier 36, NYC Steady Curve Gold / Scopophilia*, Montclair, NJ (solo) 2018 Slow Grow Mandeville Gallery, Union College, Schenectady, NY (solo) FENCE + ECHO, Far x Wide, Brooklyn, NY (curated by Jes Cannon) Crazy Beautiful III, Kenise Barnes Gallery, Larchmont, NY Three Square, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) 2017 When We Were Young: Rethinking Abstraction from the University at Albany Art Collections (1967-present) University at Albany Art Museum, Albany, NY Surface 4, ARENA at Brooklyn Dermatology, Brooklyn, NY (curated by Renée Riccardo) The Whitney Houston Biennial: Greatest Love of All, Chashama, NYC (curated by Christine Finely) 2016 Reality is Wrong, Dreams are Real, David&Schweitzer Contemporary, Brooklyn, NY (curated by Phil and Sue Knoll) Squared, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Something Else, The Painting Center, New York, NY (curated by Dee Shapiro and Miriam Brumer) Living Color, Art Center of the Capital Region, Troy, NY (2 person) 2015 Howdy Doody, Collar Works, Troy, NY (curated by Leona Christie) Remains to be Seen, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Painting Parallels, GRIDSPACE, Brooklyn, NY (solo) Double Vision, Laffer Gallery, Schuylerville, NY (2 person) Mohawk Hudson Invitational Albany Center Gallery, Albany, NY Snowbirds Kenise Barnes Gallery, Larchmont, NY Valentine’s Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Variations in Paint (invitational), The Painting Center, New York, NY 2014 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Mohawk Hudson Regional, Albany Institute of History and Art (juror: Stephen Westfall) Tracery, PS209 Gallery, Stone Ridge, NY Connections Todd Art Gallery at Middle Tennessee State University, Murfreesboro, TN (2 person) Perceptions Opalka Gallery at Sage College, Albany, NY Modern Artists Carrie Haddad Gallery, Husdson, NY 2013 Second Nature Albany Airport Gallery, Albany, NY Admit One Collar Works Gallery, Troy, NY Works by Jenny Kemp and Richard Harrington Gallery 105, curated by MCLA Gallery 51, N. Adams, MA An Early Spring Carrie Haddad Gallery, Hudson, NY 2012 Recent work and new paintings on paper Fulton Street Gallery (solo) FISSURE GalleryEll online exhibition, curated by Amanda Kates In Orbit Little Gallery at Sage College of Albany. Albany, NY. Works on Paper Carrie Haddad Gallery, Hudson, NY MFA National Competition First Street Gallery, NYC. Juror: John Yau BioLogical Salem Art Works Carry House Gallery, Salem, NY MFA Thesis Exhibition University at Albany Art Museum, Albany, NY 2011 Back to School Fulton Street Gallery, Troy, NY Fence Select The Art Center of the Capital Region, Troy, NY. Juror: Carrie Haddad Honorable Mention Chain Letter Samson Projects, Boston, MA SUNY Best of Show New York State Museum, Albany, NY Members Only Collar Works Gallery, Troy, NY Fountain Art Fair Pier 66, New York, NY Nathan Meltz with Jenny Kemp and Doug Holst...

Black & Gold Glyphs II by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary Feminist / G...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Blue Mother Drawing #2, by Jeanette Fintz in 2020 22 x 30 inches watercolor, gouache on Fabriano paper Signed lower right corner Framed: 32 x 39.5 inches, custom white frame, 8 ply w...

Blue Mother Drawing #3, by Jeanette Fintz in 2020 22 x 30 inches watercolor, gouache on Fabriano paper Signed lower right corner Framed: 32 x 39.5 inches, custom white frame, 8 ply w...

Calligraphy Abstract Panorama III - Japanese Calligraphy on Rice Paper Landscape and Calligraphy on rice paper by Michael Pauker (American, 20th c). Signed by the artist in the bottom right corner in red pencil, "X - 40 (artist's signature) 2007." Mat Size: 10"H x 20"W Paper Size: 5.63"H x 14.38"W “I’m driven by curiosity...where it comes from I can’t tell you; it’s just there. And early 20th-century modernist art is the thing that I keep returning to.” - Michael Pauker Bay Area artist and art educator Michael Pauker was born in New York in 1957, and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989, he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40,” Adam Baumgold Gallery, N.Y., NY 2002 “Works on Paper,” Bryant St. Gallery, Palo Alto, CA 2002 Dolby Chadwick Gallery...

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Bright, monochromatic abstract in warm, glowing desert tones by Marianne K. Brown (American, 1928-2019), 2000. The free flowing color field background is accented with areas of patterns evoking the Southwest. Signed "Marianne K. Brown" in the lower right and was acquired with a collection of Brown's work. Title "Desert Days" and date 2000 are written on verso. No frame. Marianne K. Brown (American, 1928-2019) has taught watercolor and design for thirty years. Her work has been shown in many art magazines, including Watercolor Magic and The International Artist Magazine, and several books on watercolor painting. She was elected secretary of Orange County Art Association in 1964. Listed in the National Watercolor Society. Author, Watercolor by Design Member, East Bay Watercolor Society 1964 - 3rd Place, non-figurative exhibit of Orange County Art Association 1978 - Honorable Mention, Central California Art...

Chryssa Repetition Signed lower right; titled on the reverse Gouache, watercolor, charcoal, and graphite on paper 15 x 11 inches Born and educated in Athens, Greece, Vardea Chryssa, known professionally as Chryssa, became a U.S. citizen and earned a reputation for her sculptured assemblages utilizing light from neon, and plexiglas combined with mixed media pieces. One of her pieces, Untitled Light Sculpture (1980) is 22 feet long and is installed in the atrium of a building at 33 Monroe Street in Chicago. It was programmed electronically to create changing patterns of reflected light through 900 feet of neon tubing. Chryssa's sculptures with precision and definite form were a reaction against the prevalent Abstract Expressionism of the 1950s with its emphasis purely upon the artist's intent. In her work, the focus is on materials and the way they are shaped for specific use by craftsmen. She got her early education in Athens, and first studied to be a social worker. She was then sent by the Greek Ministry of Social Welfare to the Dodecanese Islands and later to the Ionian Sea island of Zante, whose population had suffered great loss from earthquakes. Disillusioned that monies were being provided to restore monasteries but not to help other earthquake victims, Chryssa changed her life's direction to become a painter. In Athens, she studied art with Anghelos Prokopion. Then she went to Paris, France, and studied briefly at the Academie Grande Chaumiere and associated with surrealists Andre Breton, Edgard Varese, and Max Ernst. In 1954, she moved to San Francisco, California for a year of study at the California School of Fine Arts, and there she first saw the work of Jackson Pollock, which had a freeing affect on her and inspired her to experiment with pure form. But later she reacted against action painting with her assemblage sculptures of controlled precision. In 1955, Chryssa settled in New York City, and became the first artist to incorporate neon light tubing and commercial signs into sculpture. It is asserted that her "mature work grew out of the Greek experience, before and after World War II, wedded to the raucous letters, signs, symbols, and lights of Time Square, New York City" (Heller 125). In fact, she was so taken with the lights of Times Square that she unsuccessfully tried to get a job as a sign maker but was prevented by labor union rules. However, one of the members gave her sign-making lessons in his shop. She first made Pop images such as depictions of automobile tires and cigarettes and in sculptures, utilized letters of the alphabet, ideas that predated similar images by Jasper Johns and Andy Warhol. Her first major work of interwoven light and letters was Times Square Sky of 1962, but she was dissatisfied because she thought the piece was too crowded. To create a sense of breathing, she inserted neon light, and for the first time, this material became an art medium. From that time, she was prolific and created many variations based on the letters W and A. For her, a primary motivating factor was remaining cool or mentally collected amidst the onslaught of bombarding information and to process it through her creations in new ways so that nothing was repeated. She set up her own work place...