Post-Modern Art

Edition of 30 Signed, titled, dated and numbered Artist Copyright Stamp Texas Wildflower Portfolio 1979

Edition of 30 Signed, titled, dated and numbered Artist Copyright Stamp Texas Wildflowers Portfolio 1979

Clint Neufeld is a sculptor who works with concepts of masculine identity, currently in the form of ceramic transformations of engines and transmissions. Neufeld was born and rais...

Overall in silver leaf wood shadowbox frame 19.5 x 19.5 inches. Signed, titled and dated verso

The Architecture of Knowledge in the work of Guillaume Lachapelle L. Sasha Gora Jorge Luis Borges imagined the universe as a library, one “composed of an indefinite and perhaps infinite number of hexagonal galleries.” The bookshelves in Guillaume Lachapelle’s rigorously detailed, architectural miniatures are similar imaginings of knowledge, infinity, and the meaning of books. When Lachapelle predominantly sculpted with wood, the library was already present in his work. Take for instance the delicate shelves in Maneges (2004-2006). In 2009, he began to employ 3D printing and since, he has drafted bookshelves as white, intricately printed sculptures. Fissure, 2009, a bookshelf whose centre collapses, like quicksand, into a void; Le piège, 2009, an isolated balcony that protrudes from a bookshelf; Évasion 2, 2011, a fragile staircase that leads to a corridor library. Despite their sculptural form, these pieces never feel static. They suggest something beyond the shelves. Books are often described as gateways to other worlds and the artist Dominique Gonzalez-Foerster exemplifies this literally. In her 2013 La Bibliothèque clandestine at Palais de Tokyo what at first appears to be a bookshelf is actually a rotating door that opens into a secret gallery. For Lachapelle’s sixth solo exhibition at Art Mûr, Vision, we encounter again the library. This time, he employs single-sided mirrors to exaggerate a sense of the infinite, getting closer to Borges’ indefinite library, such as in Awaiting Knowledge (2013). We confront the same architecture in Metro (2013) and Last Night (2013). A library, a subway car and a hallway from the Titanic, respectively, all melt into an intriguing yet alarmingly dark void. Where does the darkness at the end of hall lead to? Lachapelle’s miniatures act as a threshold between what is seen and not seen. Although a good five centuries apart, the printing press and 3D printing both belong to the history of print. However, in Lachapelle’s miniatures, books are separated from their use. We cannot read them. They are rendered decorative, almost fetishized, and so instead we must mediate on their symbolism. This requires imagination. Lachapelle’s models are far too tiny for us to occupy physically, and so we must occupy them with our imagination, as when we occupy books, turning the words into the stories and images of people and places. In Borges’ story, what began as extravagant happiness - the Library of Babel housing all books and holding all of the world’s answers – turned to depression: “The certitude that some shelf in some hexagon held precious books and that these precious books were inaccessible, seemed almost intolerable.” For Lachapelle, books represent a similar anxiety: as much as we know, there is always more that we don’t. Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models - which Lachapelle has recently begun to make with the help of the latest 3-D printing technology - shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle's work - for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness - these are the artist's references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa - Centre d'Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Signed bottom middle and dated 1978

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Text by Michelle Cantin-Reid The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the originals, this is how Zeke Moores’ work appears. Upon closer consideration, the materiality of these pieces comes to light. Deceivingly close to the real thing, they greatly diverge from the original. From chromed steel Trashcans to the reconstructed Port-O-Potty made from cast aluminum and nickel-plated steel, Moores uses metalsmithing techniques to render his sculptures, usurping of the traditional modes of mass production as well as the disposable materiality that we associate with these objects. In his work, mechanised assembly line production and objects made to be thrown out or forgotten become a craftsman’s labour of love. As the disposable dejected everyday object is taken from the street and placed into the gallery, our use and imposition of a hierarchy on objects becomes apparent. However, it also speaks of the amount of work no longer done by people or often done by a series of anonymous workers in a repetitive but carefully choreographed dance with machines. We approach very differently a practical or a mass-produced object and one that is crafted. These works also celebrate those objects designed for practical but not specifically aesthetic purposes. The imposition of a new materiality gives them durability and in the case of bronze casts or chrome plating a superficial prestige. Sitting in a gallery contemplated and beheld, the cast bronze Barrier is not unlike a monument or a statue. Though, these nobler materials are not wherein the beauty lies. Happy Meal...

That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Text by Michelle Cantin-Reid The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the or...

Jim Dine and Lee Friedlander From the Portfolio: Photographs and Etchings Lee Friedlander & Jim Dine, published by Petersberg Press 1969 Signed and numbered (Edition of 20/75). Paper...

Jakub Dolejš Text by James D. Campbell That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Jakub Dolejš Text by James D. Campbell That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models - which Lachapelle has recently begun to make with the help of the latest 3-D printing technology - shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle's work - for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness - these are the artist's references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa - Centre d'Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

Using photography and drawing, Diana Thorneycroft often explores the darker side of supposedly innocent or benign objects like dolls, toys and cartoon characters. Past series include...

My work emerges from research on memory and the remembrance of landscape, where vaporous atmospheres of evanescent recollections are illustrated. My work thus, contains ghostly and e...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models - which Lachapelle has recently begun to make with the help of the latest 3-D printing technology - shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle's work - for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness - these are the artist's references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa - Centre d'Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Jakub Dolejš Text by James D. Campbell That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Signed, titled, and dated in pencil on print verso by Mariana Yampolsky Gelatin silver print 13 1/4 x 18 in.

Jim Dine and Lee Friedlander From the Portfolio: Photographs and Etchings Lee Friedlander & Jim Dine, published by Petersberg Press 1969 Signed and numbered (Edition of 20/75) Paper ...

That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism...

Jakub Dolejš Text by James D. Campbell That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism, and his palette is almost hallucinatory in its clarity. Dolejš carries forwards his project of tracking his and our relationship with artworks by invoking Modernist tropes and the monochrome, and delights in undermining our commonplace assumptions about just what it is that we are seeing. His deliberate puncturing of his viewers’ assumptive contexts lends his work subversive underpinnings and a dangerous perceptual edge. It is as though he was asking us to look at his photographs through an anamorphic polyprism – and the prism shows us the splintering of our own reflections staring right back at us in a very predatory way. The level of subterfuge here is at a very high level. As adept a painter as he is a photographer, Dolejš has achieved an enviable reputation for performing some masterful and edifying pirouettes – everything from photographing a painted set to recreate Johann Zoffany’s The Tribuna of the Uffizi (a painting of the northeast section of the Tribuna room in the Uffizi in Florence, Italy, 1772-1778) to recontextualizing Hogarth’s Marriage...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

Signed and dated lower left 1981

That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompa...

Signed lower left and dated 1970

That a photographer’s guile can make for a heady and instructive aesthetic experience is proved by the remarkable work of Jakub Dolejš. His ongoing practice of deception now encompasses some of the formal language of late Modernism...

Oil on canvas. Signed lower right Tschacbasov. Original painting by Nahum Tschacbasov. Condition is excellent. Presently unframed. Provenance: Estate of the artist Nahum Tschac...

"Texas Turtle Cup" 12,000.00 Ken Price 16 color screenprint Edition of 75 signed and numbered in pencil 1971 41 x 32.5'' Ken Price (1935 - 2012) received a BFA from the University...

Circa 1945 Signed lower left Unframed

Oil on canvas Signed and dated 1988, 39 1/2 x 31 Provenance: Newton, MA estate

Signed Tschacbasov l.r. dated 1982 Framed in a beautiful gold original frame

Oil on canvas Painting exhibited at the National Arts Club, New York Nahum Tschacbasov Retrospective, June 2013

Oil on canvas Signed and dated top right 1972 Painting exhibited at the National Arts Club, New York Nahum Tschacbasov Retrospective, June 2013

Oil on canvas Signed and dated lower right 1982 Painting exhibited at the National Arts Club, New York Nahum Tschacbasov Retrospective, June 2013

Original acrylic on heavy archival paper by the well known French artist, Andre Francois. Signed top left “Francois”. Condition is excellent. Circa 1965. Young, wide eyed girl hol...

Un Documento Storico Eccezionale (eng. An exceptional historical document). Original color silkscreen and collage, unknown year. Edition of 20 signed and numbered impressions on Arch...

French artist who has his distinct way of expressing his world of art through words that have meaning to it. P2F means Past to Future in Love, where love has a past and now moving to...

Original acrylic on canvas painting by the well known Saint Tropez artist, Michel Guy Nochet. Signed lower right, “Guy Nochet. Dated in pencil on frame verso, 1983. Condition is ...

Original color silkscreen, unknown year. Edition of E.A. (artist’s proof) signed and numbered impressions on Arches paper. Ivan Rabuzin was a Croatian naive painter and one of the mo...

Original color silkscreen, unknown year. Ivan Lacković was a Croatian naive self-taught painter and printmaker, known for his artworks of rural village l...

Very well executed original oil pastel on archival paper by the American artist, Tom Rickers. San Francisco school. Abstract with Signed and dated lower right 1977. Condition is ex...

Original oil on canvas painting by the American artist Miriam H. Greenberg. Signed lower right. Titled “Composition Red and Gold” and dated verso, 1988. Condition is very good. Orig...

This polyptych is an impressive multi-panel composition, consisting of seven high-quality reproductions on Dibond aluminum, showcasing characters from the limited edition "Diners" se...

Original color silkscreen, unknown year. Ivan Rabuzin was a Croatian naive painter and one of the most eminent lyric painters of the 20th century in Croatia. For many years he worked...

Original color woodcut, 1992. Edition of 100 signed and numbered impressions on Arches paper. Mimmo Paladino is an Italian contemporary sculptor, painter, muralist and printmaker. He attended the Liceo Artistico di Benvenuto (Benevento Art School) from 1964 to 1968, when minimalism and conceptualism dominated the international art scene, which had effects on his art. He was also a part of Transavantgarde – the artistic movement with the neo-expressionist resurgence that swept through Italy in the 1980s. Paladino seeks his inspiration from both the ancient and the modern – from Egyptian, tribal, and classical artworks to the modern painting and sculpture. In his compositions we can often see a figure in combination with the signs like crosses, and techniques like the application of gold leaves, a symbol of eternity, borrowed from Christian iconography, as well as the hieratic pose of Byzantine figures and the gestural quality of that culture’s rites. Paladino himself admits to being “an artist of the south, but of the darkest, most mysterious south, and this is why I find poetic sensations that belong to me in certain aspects of Nordic culture, why I can make a totally black painting...

Acrylic on canvas Shipped rolled in a tube

Acrylic on canvas Shipped rolled in a tube

Original color silkscreen, unknown year. Jean-Michel Folon was a Belgian contemporary artist, illustrator, painter and sculptor. During his diverse artistic career, Folon experimente...

La Magnifica Preda. Original color silkscreen and collage, unknown year. Edition of E.A. (artist’s proof) signed and numbered impressions on Arches paper. Mimmo Rotella was an Italia...

Vade Retro. Original mixed media and collage, 1999. Edition of E.A. (artist’s proof) signed and numbered impressions on Arches paper. IRWIN is a political internationally acclaimed group of five Slovenian artists (Dusan Mandic, Miran Mohar, Andrej Savski, Roman Uranjek and Bort Vogelnik), primarily painters, and an original founding member of Neue Slowenische Kunst...

Portfolio Metamorfosis I. Original 7 etching, one with collage, 1999. Edition of 25 signed and numbered impressions on Arches paper. The entire portfolio is for sale. Louise Bourgeoi...

Bob Gruen (born 1945) is an American photographer known for his rock 'n' roll photographs, he is an author and has appeared in films. Gruen was born in New York City. He began photo...

Original gouache, 1976. Miodrag Dado Đurić was a famous figurative artist from Montenegro. He spent most of his life in France, painting, engraving, drawing, making illustrations, sc...