Association of Women Art Dealers Prints and Multiples

Edition of 50 This work is registered in the Steve Kaufman (SAK) Catalogue Raisonné.

Edition XVII of C Each work is accompanied by a Certificate of Authenticity from Pierre Argillet.

This photograph titled "Oluchi Oneya - Li Ka We Nan Rayi Ou" is an original artwork by Shawn Theodore measuring 36"h x 28"w (edition of 10, 2 APs). It is an archival pigment print o...

This photograph titled "The Salon of Oluchi Oneya and Leenos The Forgiving" is an original artwork by Shawn Theodore measuring 60"h x 90"w. It is an archival pigment print on Hahnemü...

This photograph titled "Se Nan Pue Bwa A Pichpen" is an original artwork by Shawn Theodore measuring 60"h x 40"w. It is an archival pigment print on Hahnemühle rag paper. This collection debuted at SCOPE Miami Beach Immersive Art Fair 2020. Images from the art fair, which this year occurred in an online format, are included so you may see the full collection by the artist for this solo booth display. Please send us an inquiry or use the "Ask the Seller" button to receive more information about the piece and for pricing for the series. Paradigm Gallery is thrilled to announce the addition of photographer Shawn Theodore to their impressive artist roster. Theodore is an award-winning photographer whose work explores and impacts the trajectory of the collective black consciousness. Theodore has participated in exhibitions at various institutions, galleries, and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), and The Barnes Foundation (2017, 2018, 2019), among others. Paradigm Gallery will be premiering his work at a solo booth at SCOPE Immersive 2020, which will be virtually accessible. The booth will be a preview of Theodore’s first solo exhibition with Paradigm, opening in February 2021. ________________________________ BIO Shawn Theodore (b. 1970, Germany) is an award-winning photographer whose work opens broad conversations regarding the role of the photographer in the shaping of agency and imagery, engages in new forms of storytelling, and impacts the trajectory of the collective black consciousness. Theodore has participated in exhibitions at various institutions, galleries and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), The Barnes Foundation (2017, 2018, 2019), Steven Kasher Gallery (2018), AIPAD (2018, 2019), Hudson Valley Community College (2018), Catherine Edelman Gallery (2017), The Bakalar & Paine Galleries at MassArt (2017), Snap! Orlando (2018), Richard Beavers Gallery (2018), PRIZM Art Fair, Scope Art Fair, Philadelphia Photo...

This photograph titled "Leenos The Forgiving - Li Pa Gen Tan Pou Li Rayi" is an original artwork by Shawn Theodore measuring 36"h x 28"w. It is an archival pigment print on Canson Infinity Platine Fibre Rag 310gsm and is part of an edition of 10. This collection debuted at SCOPE Miami Beach Immersive Art Fair 2020. Images from the art fair, which this year occurred in an online format, are included so you may see the full collection by the artist for this solo booth display. Please send us an inquiry or use the "Ask the Seller" button to receive more information about the piece and for pricing for the series. Paradigm Gallery is thrilled to announce the addition of photographer Shawn Theodore to their impressive artist roster. Theodore is an award-winning photographer whose work explores and impacts the trajectory of the collective black consciousness. Theodore has participated in exhibitions at various institutions, galleries, and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), and The Barnes Foundation (2017, 2018, 2019), among others. ________________________________ BIO Shawn Theodore (b. 1970, Germany) is an award-winning photographer whose work opens broad conversations regarding the role of the photographer in the shaping of agency and imagery, engages in new forms of storytelling, and impacts the trajectory of the collective black consciousness. Theodore has participated in exhibitions at various institutions, galleries and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), The Barnes Foundation (2017, 2018, 2019), Steven Kasher Gallery (2018), AIPAD (2018, 2019), Hudson Valley Community College (2018), Catherine Edelman Gallery (2017), The Bakalar & Paine Galleries at MassArt (2017), Snap! Orlando (2018), Richard Beavers Gallery (2018), PRIZM Art Fair, Scope Art Fair, Philadelphia Photo...

This photograph titled "Konfyans" is an original artwork by Shawn Theodore measuring 60"h x 90"w. It is an archival pigment print on Hahnemühle rag paper. This collection debuted at...

Framed: 56.5 x 43 inches Edition of 6 From the series "Pictures of Pigment" Signed and dated on affixed label

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

From "Eight Etchings" (1925-1931) Printed by Stem Graphics Published by Midtown Galleries and Sylvan Cole Gallery Signed in pencil lower right

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Nick Veasey The Finger 25 x 25 inches, Edition of 10 Sensored Lightbox (activated with motion) Framed in black Signed and numbered by artist Currently on d...

Nick Veasey Flash 47 x 47 inches, Edition of 9 X-ray image printed white onto retroreflective vinyl. A high intensity prismatic art piece that constantl...

Nick Veasey Stormtrooper Diptych 47 x 27.5 inches each, Edition of 15 X-ray image printed white onto retroreflective vinyl. A high intensity prismatic art...

Nick Veasey Gold G-Wagon 43 x 86.5 inches, Edition of 5 Printed x-ray shadowbox with mirrored gold background and key located at bottom of frame. Signed and numbered by artist *Plea...

From the "Edition Domberger 1980" Signed and numbered with publisher embossing

From "Eight Etchings" (1925-1931) Printed by Stem Graphics Published by Midtown Galleries and Sylvan Cole Gallery Signed in pencil lower right

Hand colored lithograph on BFK Rives paper Edition 4 of 25 Signed, titled, and numbered in pencil

From the "Dente Prompte" portfolio Gallery labels to reverse: Gluria Luria Gallery, Bay Harbor Islands, Florida

From the "Dente Prompte" portfolio Gallery labels to reverse: Gluria Luria Gallery, Bay Harbor Islands, Florida

After Roy Lichtenstein As I Opened Fire Poster (after the painting from 1923) Offset lithograph triptych on thick, woven paper Each Frame: 33.5 x 29.25 ...

Signed and numbered in pencil; stamp signed and dated

Lithograph and screenprint on Arches cover, Signed and dated

Signed and numbered in pencil

Screenprint in 18 colours on Archivart 100% rag 4-ply Museum Board Signed and numbered in pencil with blindstamp

Lithograph on Rives BFK White paper Signed and numbered

Untitled (24-inch Spray-paint Stencil Monoprint 3)

Lithograph on Rives BFK paper Frame: 44 x 35.75 in. Signed and numbered in pencil Image drawn with water tusche directly on plates Lembark 271

Screenprint on off-white wove paper Signed and numbered in pencil: 44 from 300 plus an unknown number of AP (inscribed A/P).

Signed and numbered in pencil

Screenprint on wove paper Edition of 50 Published by Gemini G.E.L., Los Angeles Signed and numbered in pencil with studio blindstamp

Farah Khelil, Mo’jam, Fine Art Print, 99.7 x 150 cm, 2015 antoine lefebvre editions bookworm, curated by Antoine Lefebvre The boundaries between passion and destruction fade away. bookworms is an transnational transmedia artists’ project about book-loving and book-eating, conservation and conservatism, passion and destruction. From the encounter with a destroyed book stems a reflection between two artists who are both passionate about books. It is important for us to present this project in different countries because the issues of transmission of knowledge are everywhere the same. This project is about the ignorants for whom knowledge, intelligence and education has become a threat and who seek to drag others with them into darkness. For Khelil, the book eaters are thinkers and intellectuals against conservatism and dogmatism. *** bookworms is an artists’ project about book-loving and book-eating, conservation and conservatism, passion and destruction This project is the fruit of a very special encounter with an object… After the death of her grandfather in 2012, Tunisian artist Farah Khelil (b. 1980) explored his library and found an old family dictionary in Arabic (Mo'jam Arabia), at least what was left of it, for it had been devoured by book eaters. She decided to collect some fragments without knowing what she would do with them. Impressed by how carefully cut the pieces were, she wanted to transform them into artworks that would honor the memory of her grandfather. Because she knew how important the book object is in my artistic practice, she showed me the fragments and invited me to participate in an exhibition at the Tunisian gallery A.GORGI in her hometown Sidi Bou Said. I then thought about introducing her to Barbara Denis-Morel, the curator of the Avranches Library. This library conserves, among other treasures, more than 200 medieval manuscripts from the abbey of the Mont Saint-Michel, but it also holds a few books that were entirely devoured. Thanks to the curator, we could consult old books that were infected, quarantined, pierced by galleries and routes that revealed the passage of book-eating insects. We filmed these pages to create a video that we entitled ALL THE MEMORY IN THE WORLD, Toute la mémoire du monde, which is an appropriation of the eponymous film by Alain Resnais. Farah had also kept some intact pages of the devoured dictionary. Then we used this sequence of 120 pages to build the lay-out structure of an artist’s book. The idea was to empty all the textual content —captions and definitions— to keep only the figures, the dropped initials, and the page numbers. The emptied columns of the dictionary were then filled with artistic contributions and texts that we commissioned to invited authors. Printed in an edition of 500 copies, this artist book was made by Farah Khelil and antoine lefebvre editions from the remains of a devoured book. It will be a key element, of this second presentation of the project, and a special edition with a bookstand will produced especially for the fair. Behind the idea of book-eating insects, there is the issue of conservation but also of conservatism, as in Solitaire, an installation Khelil made with a peg solitaire game and mothballs. This work is a “portrait” of her grandfather, Abdelaziz Majdoub, who taught Arabic at the Sadiki High School for a long time where he specialized in “ilm al-kalam,” the science of language. This project is imbued with nostalgia, it is reminder for the artist of the time she spent as a child with this thinker always with his head in books. These encyclopedic pieces transformed into artworks draw the territories and communal places of knowledge. They are extensions of a family memory and reflect a culture going back and forth between book-loving and book-eating, conservation and conservatism. This idea of book destruction is one of the main dangers threatening the library and the books that compose it: fire, water and confinement. But there is also this minor or mediocre scourge that intend to harm the books: the book eaters. This exhibition is a metaphor, a reflection on ignorance, not as opposed to knowledge but as an enemy of knowledge. Ignorance is what attempts to undermine the intelligence, kill or reduce it. Just like the bookworms...