Airplane Art

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires with water. The "water" in this case, has been replaced with glitter by the artist. Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires with water. The "water" in this case, has been replaced with glitter by the artist. Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires ...

This black and white still from McLean Fahnestock's animated video titled "Fistfuls of Diamonds," depicts two planes attempting to put out wildfires ...

Photographer Mitchell Funk looks up at the Met Life and Chrysler Buildings from Grand Central Station. He perfectly designs dark and light areas with golds set against blues. A silh...

On the west coast of Vancouver Island, the waves crash in dramatic storms, but when the tide is out and the sea is calm, the beach is a wonderful place to enjoy the undulating shape...

AP Signed, titled, and numbered in pencil on print margin. From the series: Vietnam Remembrances After receiving his MFA at the University of Texas in 1966, Don Schol was drafted in...

A breathtaking silkscreen by Jacques Monory depicting a plane crash. Numbered and signed by the artist in pencil. Rare version "HC" (Out of trade) Printed on Arches paper. Circa 1980...

Edition of 7 Signed, titled, dated and size and numbered. Ivan Mikhailov was born on January 15th, 1981 in Novocheboksarsk, Russia. In 2003 he graduated from the Chuvash Pedagogical...

Caviar20 has had the pleasure and privilege to work with Canadian legend and artist extraordinaire Charles Pachter. Celebrating Canadian patrimony is an important element in Pacht...

Gail Folwell is a contemporary sculptor who holds a BFA from the University of Denver and has had an accomplished career in graphic design as well as extensive university and college teaching experience before she began sculpting full time. Her highly expressive bronze figurative work is full of inspiring energy and emotion. “Design and illustration are powerful tools”, which gave Folwell “a sound understanding of anatomy and body mechanics,” she says. She finds the human body, with all of it’s musculature, speed, and grace, beautiful and inspiring. Her design approach considers the practical, emotional and environmental elements of the public art experience. Folwell works in large and small scale, bronze, clay, or styrothane for public and private collections. She has exhibited with The National Academy of Design and The National Sculpture Society in New York, The Denver Art Museum in Denver, Colorado, and has completed monumental sculptural commissions for the National Hockey League, University of South Alabama, Vail Valley Foundation, Bowling Green State University, The city of Frisco in Texas, the Gerald Ford...

Art Sz: 6 1/4"H x 11"W Provenance: Gillian Dupont's The Old Habit Tack Shop Marshall, VA

Hand signed and numbered by the artist. Silkscreen on Arches paper. Image size 30 x 30 inches. Artwork is in excellent condition. Certificate of Authenticity included. Published by C...

The painting is being offered with a work and authenticity certificate

Old School Magician 2023 Acrylic on canvas 10 x 8 inches Signed and dated on verso by the artist Matthew Hanzman is a self taught painter whose work ranges from bold, whimsical figu...

Roundism – 12-06-18 It is time to put down a kind of art statement for a change. Lately I came to think about my kind of art a lot, inspired by comments and questions like what ...

Het Depot Rotterdam’s latest acquisition is the Depot Boijmans Van Beuningen. There was this online première in Januari 2021 during corona times but it drew less attention than d...

Woodcut, 2020. Signed in pencil, numbered from the edition of 20.

Pencil on paper Helen Warner is a British artist born in 1978 who lives and works in Southampton, UK. She studied Art, Sport Studies and Human Biology at college and being a passion...

Ink on paper Helen Warner is a British artist born in 1978 who lives and works in Southampton, UK. She studied Art, Sport Studies and Human Biology at co...

Oil on canvas, ''I offer art collectors series about the world we live in simultaneously with reality, they can live in these colorful, interesting, modern and dynamic world filled ...

Oil on canvas, ''I offer art collectors series about the world we live in simultaneously with reality, they can live in these colorful, interesting, modern and dynamic world filled with ecology, making their lives more diverse and fascinating'' Rusiko Chikvaidze is a Georgian artist born in 1970, who lives and works between Tbilisi, Georgia and Chevy Chase...

TWA Skyliner certificate presented to (philanthopist) Seymour H Knox for having flown from New York to London on April 7, 1955 Print Sz: 8 3/8"H x 10 5/8"W Frame Sz: 9"H x 12"W

Signature: Signed lower right “Tony Fachet” and dated ’80 Illustration depicting a WWII Naval Battle.

40"40" photograph, edition of 5, signed and editioned on reverse framed in natural wood shadowbox frame This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

Limited Edition Fine Art Prints, series of 10 per each size: Each print comes with a hand signed and numbered certificate of authenticity (will be sent separately). Each certific...

El Al 787 Dreamliner ***** Limited Edition Fine Art Prints, series of 10 per each size: Each print comes with a hand signed and numbered certificate of authenticity (will be s...

Het Depot Rotterdam's latest acquisition is the Depot Boijmans Van Beuningen. There was this online première in Januari 2021 during corona times but it drew less attention than deserved. Upon my word, I declare 'Het Depot' or in slang Rotterdam 'De Pot', a new wonder of the world. Surely it looks like a rather plump shiny pot but it is grand and stacked full of art. Boijmans therefor is the first to offer access to its entire collection in this new art storage...

A fantastic original pop art screenprint, from an edition of 50 on 260gsm Fabriano paper. 5 colour print (plus gloss varnish over image). Print has a white border. Print size 50cm x 70cm All prints numbered signed & embossed with artists stamp. :: Hand Printed...

A fantastic original pop art screenprint, from an edition of 50 on 260gsm Fabriano paper. 5 colour print (plus gloss varnish over image). Print has a white border. Print size 50cm x 70cm All prints numbered signed & embossed with artists stamp. :: Hand Printed...

30"x45" C-Print Photograph, #3/5 signed on reverse by the artist. This limited edition Chromogenic Print captures the moment flight 1549 was pulled from the waters along the Hudson R...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20 CURRENT EXHIBITION - runs through February 25, 2017. Any framed photographs purchased during the show will ...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20. CURRENT EXHIBITION - runs through December 31, 2017. Any framed photographs purchased during the show will...

In Buehler’s color photograph from a military airplane storage yard in Arizona, the F-106 Delta Darts parked in alignment, their silver tails recede into the...

Ralph Farabee (1935–2003) Title: "Birds Nest" Medium: Watercolor on Paper Dimensions: 10" x 7" image 17.75" x 14.75" framed Markings: Signed LR "Farabee"

40"x60" C Print 2/5 from the series: "Brace For Impact, The Aftermath of Flight 1549" available unframed please inquire about additional editions and availability Stephen Mal...

Purvis Young (1943 - 2010) Drawing from the 1990's #469 ink on paper 10.50 x 8 in

18"x18" photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

Medium: Oil on Canvas Dimensions: 24.50" x 36.00" Signature: Signed Lower Left

In order to fly higher, see further, eagle needs to challenge its limits again and again. This is a kind of courage. The gull wing door created in helplessness has been criticised fo...

This work is unique. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The Andy Warhol Foundation for the Visual Arts...

On April 4, 2022 I painted the airplanes landing into Burbank airport from my backyard. 25 canvas panels mounted on a wood frame. :: Painting :: Contemporary :: This piece comes with...

24"x30" photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

Represented by George Billis Gallery, NYC & LA -- Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, lif...

For a little over 3 hours on March 22, 2019, I painted all of the planes as they flew over my backyard. 30 paintings in all, each painting is 8" x 10". Oil on canvas panels. Panels m...

24"x30" will photograph, signed and editioned on reverse. (edition of 5) This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern...

This is a unique work. Dated 'Apr 23 1982' (on the reverse). Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The ...

Represented by George Billis Gallery, NYC & LA --Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives. The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes. Painters today tend to lean on pastiche, on art-historical mashups and code-switching. This typically results in images with no unified style and no concern for pictorial space, illusionistic or otherwise. For many contemporary painters, the picture plane is simply a flat, delimited arena in which different types of visual syntax collide, floating freely. This is a non-strategy in which artists make an end run around some of the thornier problems of composition, perception, and cognition. Young bucks this trend. He activates every square inch of his canvases, blocking in large passages of negative space with skeins of scruffy countervailing strokes. He is not a fussy painter, nor is he out to prove his own mastery to an audience. Like Edward Hopper, Young tends to eschew a lot of paint’s seductive properties, preferring to create hard edges and large, gently undulating planes of subdued color. He draws the viewer into an unpopulated, uncluttered world with a clear horizon line—but one that is also filled with hiccups, discontinuities, and compromises. In Service in the Rear, for example, a shelter for gas pumps in the foreground—closest to the viewer and, therefore, logically a dominant compositional element—is rendered as a hazy silhouette that flagrantly disobeys the rules of linear perspective. This is intentional: The structure is only important to Young in the way that it draws the viewer’s eye below and past it, to the glowing, low-slung building dominating the lefthand side of the picture. Thus Young shows his talent for creating visual tension and drama—and for sidestepping the viewer’s expectations. Young understands that some might regard his brand of painting as obsolete. He also understands the troubled legacy of modernism, and what the triumph of universal technology has meant for cultures around the globe. Still, for Young, the cold comfort offered by outposts of convenience—gas stations, airports, cheap hotel rooms—is not so easily dismissed. Young shares the strange buoyant optimism of his hero, Jonathan Richman, who, in his early ‘70s proto-punk single, Roadrunner, exults in the simple act of driving past the Stop’n’Shop with the radio on...

Acrylic on canvas

Cobalt Blue, Cadmium Yellow and Theo Violet were used in the creation of this acrylic of four Orcas hunting in the Salish Sea off of British Columbia's sout...

Three colors: Process Cyan, Theo Violet and Cadmium Yellow were employed in this acrylic painting of Orcas slicing through the waters of the Salish Sea in their hunt for Chinook Salm...

Yellow, Blue and Violet acrylics were used in the creation of this piece where four Orcas meander through calm waters as the fog lifts on the Salish Sea. ::...

A trio of Orcas make their way through the Inside Passage, east of Vancouver Island, with the Coast Range in the background. :: Painting :: Realism :: This piece comes with an offici...

Las Vegas Limited edition, (series of 50), signed and numbered. Printed on archival pigment based inks on acid free archival ?fine art paper. I ship all prints, rolled, ?in a heavy ...

Original cityscape paint in en plein air :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: S...

Oil on wood panel. Meditation on beauty, passage of time, luminosity, space and escapism. :: Painting :: Realism :: This piece comes with an official...

Looking Up at the High Line focuses on a medium view of the structure. The viewer sees a large black band of the High Line with sky above, and activity below. :: Painting :: Contemp...

Braque Le Signe (The Sign), 1954 is an intricate and mysterious piece. This work comes from a period in Braque’s life in which he became considerably more in...