Toy Art

These were from a show of her work. Influenced by Surrealism and Dada Photographs these are images of old children's dolls in various states of decay. These bear the influence of Hans Bellmer, Dora Maar and Man Ray. Jo Ann Krivin born in Reasnor, Iowa in 1933, daughter to Earl Guthrie and Lillie Cramer. She graduated from Simpson College in Indianola, Iowa, with a bachelor of music degree in voice. She became a copywriter for the CBS Television affiliate in Des Moines, and then a public relations writer for Columbia Records in New York. She later owned and directed The Cramer Gallery in Glen Rock, N.J. Krivin photographed many jazz musicians during the 1980s and 1990s, and published two books of her jazz photos, "25 Years of the Jazz Room at William Paterson University" and "Jazz Studies." Her jazz and doll portraits have been exhibited in group and solo shows, museums, university galleries, and jazz festivals. She was married for over 50 years to painter, musician, and educator Martin Krivin. One of the few women in the field of jazz photography, JoAnn Krivin documented the professional jazz scene from the late 1970's until the late 1990's photographing close to 700 musicians. Her works have been exhibited frequently in solo shows at festivals, museums and galleries across the country. She has served as a still photographer for New Jersey Public Television and has contributed to a variety of national jazz publications. Her book, Twenty Five Years of the Jazz Room at William Paterson University, was published in 2003. Woman artist with a feminist tinge to these photographs. Her work was exhibited at the Ben Shahn Galleries. The exhibit featured photographs of some of the jazz world’s most well-known musicians, including Sonny Rollins, Joe Williams, Art Farmer, Benny Golson, Milt Hinton...

Lego "Astro" Digital C-Print / Archival Pigment Print Available sizes: 24 x 16 Edition of 20 36 x 24 Edition of 5 48 x 36 Edition of 5 60 x 48 Edition of 5 “Collectible” series is a...

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

Doll No. 3 (Edition 1/25), Lucille Khornak, Color Photograph on Board with Acrylic Finish, 40 x 26, Late 20th Century Colors: Black, Blue, White,...

Dolls No. 15 (Edition 1/25), Lucille Khornak, Color Photograph on Board With Liquid Acrylic Finish/ Mixed Media, 26 x 40, Late 20th Century Colors: Bla...

Doll No. 7 (Edition 1/25), Lucille Khornak, Color Photograph on Board with Acrylic Finish, 26 x 40, Late 20th Century Colors: Black, Blue, White,...

Outrageous larger than life piece of Folk Art painstakingly composed of found objects such as sea shells, beads, toys, vintage jewelry buttons, and bottle caps (to name a few). There...

Unique sculpture made of glass and papier mâché painted with acrylic painting and varnished Hand-signed by the artist Wabé is a French artist. She was born in Marseille in 1961. She...

The main theme of Kitade's artwork is focused on questioning. The sources of the ideas are picked up from his own life experiences, starting from personal experiences and expanding ...

The flying targets is a dynamic room installation that will never bore you, as it has this movement you will always like to observe. The artwork is UV-printed on Aluminium dibond and...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Figures is a China ink Drawing realized by Mino Maccari (1924-1989) in the 1960s. Hand-signed on the lower. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an...

About the artist : Naor is a French artist from Lyon born in 1988. Completely anchored in his time, he has always traveled a lot around the world. If travels form youth, Naor ...

David Levinthal is a central figure in American postmodern photography. Since the early 1970’s, he has photographed dolls and toys in settings that explore the fantasies, myths and e...

Jen's love of photography began as a child, when her grandfather, a photographer, gave her a camera. However, it wasn't until she graduated from UC Berkeley that photography became a...

Olympus Bear, Stoneware by Jeffry Mitchell, 2017 Additional information: Medium: Salt fired stoneware with cobalt and some porcelain additions Dimensions: 14 x 7 1/2 x 7 in About a...

Dating from 1979, this acrylic on wood relief is hand-signed 'Appel' by Karel Appel (Amsterdam, 1921 - Zürich, 2006) in red in the lower left. From an edition of 8, this work was pub...

Pintura acrilica en bastidor de madera sobre soporte de tela. Lleva una capa de barniz para evitar el polvo y la humedad. Se transporta en caja de madera especial obras de arte. D...

Tribe Oil Painting on Panel People Surrealism In Stock ​Heather Nevay was born in Glasgow, Scotland on 13th January 1965. She studied at Glasgow School of Art and graduated with BA...

Stay On Target! by BATIK BATIK is an increasingly collectable pop artist currently living and working in London. The artist is purposely elusive with their true identity, sex and a...

A young Hawaiian girl is saying good night to the sun as it sets over the water using a traditional dance. This painting has been crafted using professiona...

Stay On Target! by BATIK BATIK is an increasingly collectable pop artist currently living and working in London. The artist is purposely elusive with their true identity, sex and ...

The panda by Richard Orlinski features sharp facets yet its round ears, nose and stomach take centre stage. These facets create pools of light and dark that ...

Pintura acrilica en bastidor de madera sobre soporte de tela. Lleva una capa de barniz para evitar el polvo y la humedad. Se transporta en caja de madera especial obras de arte. D...

Elizabeth McGhee (b. 1985, Southern California) completed her BFA in 2009 at the Laguna College of Art and Design, Laguna Beach, CA. She continued her studies at the Lance Richlin At...

Artwork framed - white & wooden frame Shin Seung-Hun is a South-Korean artist born in 1979 who lives & works in Jeju Island, Korea. He is considered by critics as the new Korean...

Keith Haring Andy Mouse Bearbrick: 400%: A unique, timeless collectible trademarked & licensed by the Estate of Keith Haring. The partnered collectible reveals Keith Haring's 'Andy M...

The main theme of Kitade’s artwork is focused on questioning. The sources of the ideas are picked up from his own life experiences, starting from personal experiences and expanding ...

Artificial stone & aluminium, red colour

Mali Onder’s paintings are colourful and vibrant. Each element in his paintings represents different meanings. In his paintings, the purity we all see, takes the form of a little gir...

This painting is acrylic and oil on gallery-profile canvas, wired and ready to hang. :: Painting :: Pop-Art :: This piece comes with an official certificate of authenticity signed by...

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove of artifacts and collectables which she began using to create assemblage art in the 1990’s. In 2000 she sold her business and moved to Cuyamaca, a remote community in the mountains outside of San Diego to devote herself exclusively to her artwork. In 2003 her work was interrupted when the Cedar Fire swept through San Diego county and destroyed the forest, her home & studio along with almost all of her collections and works of art. Following the fire she relocated to San Francisco, where she spent a decade concentrating on her art in her studio in SOMA and exhibiting at galleries in the Bay Area. In 2015 she returned to San Diego and now works out of her studio in La Jolla, exhibiting there and in Los Angeles. Kat Flyn refers to herself as an Assemblage Sculptor and her works as Political Art or Protest Art. She separates herself from other assemblage artists in that she only employs “saved” as opposed to “found” objects in her work; and her pieces always have a political or cultural narrative to them rather than being surreal or abstract. She also constructs or refashions many of the pieces which she uses in her art, for example she turns a soft drink box...

To Chicago-based artist Patrick Fitzgerald, his miniature car sculptures are a means of traveling through time. Born from a fascination with the soap box...

Epoxyclay and wood.

Lisa Golightly is an artist living in Portland, Oregon. With a BFA in art, her initial focus was photography, the influence of which can be seen in her paintings. Her work revolves a...

This Golek puppet was made by an unknown Indonesian artist using wood and cloth. It is approximately 24" tall. Traditional Wayang Golek plays can be comp...

The electro-love collection was inspired by the artist's time spent in South America and South Africa and seeing these supernatural creatures. Technique: Clay mold...

Whether as a statement piece in an offbeat living space, or a quirky bedroom addition, this piece is sure to be a sultry, sensitive talking piece! Working with a collection of vintage Barbies to create timely, sensitive portraits that evoke the interior lives of the dolls, photographer Larry Torno...

Archival pigment print (Edition of 5 + 2 APs) Signed, titled, dated, and numbered on label, verso This photograph is offered by ClampArt, located in New York City. Frances F. Denny'...

Archival pigment print (Edition of 5 + 2 APs) Signed, titled, dated, and numbered on label, verso This photograph is offered by ClampArt, located in New York City. Frances F. Denny'...

Pigment ink print Signed and numbered, verso (Edition of 7) This photograph is offered by ClampArt, located in New York City.

A Hawaiian dancer tosses a lei into the sea in hopes of her friend returning to the islands. :: Painting :: Contemporary :: This piece comes with an offi...

MY work is based on memories, the things I grew up with or something I can relate to. Every object I used in my paintings reflects my past. The images are tilted or partially drawn, ...

Inspired by amateur archaeologists such as Heinrich Schliemann who discovered Troy and by past elaborate hoaxes like that of the Piltdown Man, Joshua travels the world performing sta...

KAT FLYN is a self-taught assemblage artist working presently out of San Diego. She began her career as a costume designer in Southern California. Over the years she amassed a trove ...

KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly diminished. That’s probably the reason why...

Bronzetto firmato alla base F. de Luca, artista meridionale attivo fra XIX e XX secolo, raffigurante un'allegoria delle Arti. In secondo piano, la "Scultura", identificata da un put...

Rachel Denny's work is an exploration of the seductive beauty of our natural world and the imprint that human intervention has made on its flora and fauna. Denny works in a variety o...

Artist: Robert Indiana Medium: Original Lithograph, 1977 Dimensions: 24 x 20 in, 60.9 x 50.8 cm Arches Paper - Very Good Condition Starting in 1965, Indiana collaborated with c...

This quirky photograph is sure to be a talking point! It's tongue-in-cheek humor is as effervescent as its sparkly pink backdrop. Working with collections of vintage Barbies as his subjects, photographer Larry Torno...

Slapend Eendje no. 5 Sleeping Duck Bronze Sculpture In Stock Evert den Hartog (born in Groot-Ammers, The Netherlands in 1949) followed his education t...

Alexander Calder - Original Lithograph - Behind the Mirror 1 Original lithograph created in 1976 Framed Dimensions: 38 x 56 cm Source: Derrière le m...

Shaped aluminum with yellow powder coat on polished aluminum base. Edition 21/25.

"Study for Red Head Nude" 1978 Colored pencil & pen on paper Signed Provenance: Ehrlich Gallery, New York, New York; Private Collection, Washington, D...