David Bowie

Hand pulled unique monotype printed by the artist. Signed and titled on bottom front Framed With The Missoula Crew, unique monotype, dragonfly, heart, blue red yellow green My wor...

Aspen Trail- Fall, color etching,John Hogan, yellows, gold, landscape forest hand pulled limited edition color etching 22 x 30 paper size 18 x 24 image size unframed edition signed ...

Cottonwood in Jemez Canyon by John Hogan mixed media monotype, New Mexico unique framed mixed media mono print John Hogan A graduate of Northeast Louisiana State University with a b...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Two blue cats tussle and fight on top of a laid dinner table, knocking dishes and candles everywhere. Done in a simple illustration style and created using only six colors, the edges...

Six Episodes Ellen Lanyon, American (1926–2013) Date: 1979 Lithograph, signed and numbered in pencil Edition of 13/35 Image Size: 18 x 21.5 inches Size: 22 in. x 25.5 in. (55.88 cm x...

Antarctica #29is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pap...

Patagonia #32 is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pap...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Eve (Pink) Year: 1974 Medium: Silkscreen, signed and numbered in pencil Edition: AP Image Size: 18 x 18 inches Size: 20 x 20 in. (5...

Artist: Jack Brusca, American (1939 - 1993) Title: Magnolia Year: 1978 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 30 Size: 28 in. x 26 in. (71.12 cm x 66.04 cm)

Salvador Dali - The Biblia Sacra was published in 1969 by Rizzoli of Rome - SIGNATURE : printed in the image - LIMITED : 1499 - SIZE : 19 x 13 3/4" - RE...

Les Revolutions Sceniques du XXe Siecle - II (Cramer 207) Joan Miro, Spanish (1893–1983) Date: 1975 Lithograph Image Size: 12 x 9.5 inches Size: 14.5 in. x 10 in. (36.83 cm x 25.4 cm...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Engineer often brought him to the lab. The daily experimentations happening around him, both personal and scientific, would later inform his work. While his parents wanted him to follow more straightforward career paths, he was the first in his family to eschew their expectations and pursue art and music instead. Malghan went on to receive an MFA in Photography from Savannah College of Art and Design - Hong Kong. Here he experimented in a darkroom, bleaching film, adding watercolor to glass plates, thinly cross-sectioning fruits and vegetables until they formed abstractions, beginning his exploration into the repurposing of materials. In his twenties, Malghan was diagnosed with Leukemia, the treatment of which resulted in avascular necrosis, a bone disease that eventually required numerous surgeries and three hip replacements. His experience through illness and recovery not only led him to photography, but also informs his manipulation of raw, often overlooked materials in order to reorient our understanding of beauty, pleasure, and purpose. Malghan has been exhibited across the country and has lectured in Hong Kong, India, the University of Texas, the University of Notre Dame - Maryland, and UMLAUF Sculpture & Design Museum. He most recently has been commissioned by The Walters Art Museum, and his work is in the private collections of Johns Hopkins...

Three boys stand near a periscope on a boardwalk, one using it to peer out beyond into the vastness of the waterfall before them. The composition is simple and resembles a style that would be used in traditional Japanese ukiyo-e woodblock prints. From the Mother Goose Portfolio, this print is signed and numbered in pencil by the artist. Three Children...

An illustration of an old woman's head wrapped haphazardly in heart-patterned ribbons and tied at the neck with a large pink bow. On her head sits a traditional crown as well as a crown of light pink roses. From the Mother Goose Portfolio, this print is signed and numbered in pencil by the artist. Queen of Tarts Barry Moser...

Original vintage Soviet propaganda poster for the International Women's Day celebrations - 8 Марта / 8 March - featuring three ladies smiling to the viewer with the date above agains...

Artist: Eduardo Paolozzi, British (1924 - 2005) Title: Lots of Pictures, Lots of Fun Year: 1971 Medium: Serigraph, signed and numbered in pencil Edition: 10...

Color lithograph with pochoir, Edition 30 Roberto Juarez has been an important figure in the American art scene since his first solo exhibition at Robert Miller Gallery in 1981. H...

Color lithograph, Edition 30. Enrique Chagoya makes paintings and prints about the changing nature of culture. My artwork is a conceptual fusion of opposite cultural realities that I have experienced in my lifetime. I integrate diverse elements: from pre-Columbian mythology, western religious iconography and American popular culture. On the border of this print surrounding the image the following is written: An American tourist is approached by a Mexican kid holding a small human skull in his hand. He asks him: “Hey Mister, do you want to buy Pancho Villa...

Color lithograph, Edition 30 Kushner has collaborated with Master printer Bud Shark since 1982 on various monotypes and lithographs. These exuberant, sensuous prints often include...

Color woodcut/relief John Buck’s newest woodcut The Fountain is all about water. It features a large central image of a flowing fountain surrounded by a tapestry of incised images in the background. The incised images start at the top with happy mermaids, mermen and fish frolicking in abundant water. Below Buck presents scenes of water...

Color lithograph on antique paper, Edition 20. Burckhardt is interested in art from cultures where symbols and narrative forms are mysterious and indecipherable. Seeing artifacts ...

Color lithograph with pearlescent powder, gold and aluminum leaf and pochoir, Edition 20. The artist describes this project: This piece is based on a much larger work in which the suns were made with embroidered concentric circles of yellow thread. Making a print based on an existing work is by necessity a translation. As Borges said, sometimes, “the original is true to the translation.” In the case of Sharks Ink...

Color woodcut, Edition 30. Lotus is a twenty-six color woodcut from seven woodblocks printed in an edition of 30, plus proofs, on white Thai Mulberry paper. In this print, a compe...

Color monotype. Rafael Ferrer depicts the intense life of the Caribbean in his paintings and prints. With hot colors, deep shadows and mysterious relationships among his figures, Fe...

Color lithograph with hand coloring, Edition 20 Her most recent prints are "Lines of Force (Fire Red) State II" and "Lines of Force (TBR) State II." Vibrant hand-colored lithograp...

Color lithograph with chine collé and debossing, Edition 20. Dianna Frid describes the making of the Sieve suite below: High contrast photographs of sieve-like objects are the...

Color lithograph, Edition 30. The artist describes this project: “In this work I defang the stereotypes of Native Americans depicted as primitive savages in the painting by Wimar. The mask and the Mayan head team up with a third character to form a fictitious, original, trans-continental Border Patrol. This work is a humorous reminder that all nations in the Americas were created by undocumented immigrants from Europe. Today, some politicians call refugees from Central America and other countries “illegal aliens” but for me they are no different from the Pilgrims or Daniel Boone...

Color monotype with collage. Kushner recently completed a series of monotypes, many with collaged decorative papers. He worked from still-lives of flowers, fruits, pitchers and Bett...

Color 3-D lithograph, Edition 75. Red Grooms and Master printer Bud Shark began their many print collaborations in 1981 with "Mountaintime", followed in 1982 by their first three-dimensional lithograph, "Ruckus...

Color Woodcut, Edition 20. In “The Night Prism”, angled surfaces meander in an ornamental fashion delineating a human figure. This constructed body, the central motif of the print...

Color woodcut with pochoir, Edition 30 In all of Morinoue's work there is a compelling sense of place--the ocean shoreline, lava flows and Japanese gardens. He is a patient observ...

Color lithograph with metallic gold powder, Edition 25 Don Ed Hardy is a painter, printmaker and tattoo artist. Fascinated by tattoos since childhood, Hardy has become a master of...

Color lithograph, Edition 75 Red Grooms and Master printer Bud Shark began their many print collaborations in 1981 with "Mountaintime", followed in 1982 by their first three-dimen...

Color woodcut, Edition 15. John Buck is both a sculptor and a printmaker. He works with two interrelated bodies of work: carved wood, assemblage and bronze sculptures, and large, mu...

Color monoprint/collage/chine collé/digital/lithograph. Howard’s most recent project at Sharks, Assegnazioni con De Seingalt is a continuation of her nearly four decades of using co...

Color 3-D lithograph in Plexiglas box, Edition 75 Red Grooms and Master printer Bud Shark began their many print collaborations in 1981 with "Mountaintime", followed in 1982 by their first three-dimensional lithograph, "Ruckus Taxi...

Color lithograph, Edition 15. Hollis Sigler used a faux naive style to execute narrative paintings, drawings and prints. Since 1985 Sigler collaborated with Bud Shark to produce m...

Lithograph/diptych. Edition 25. Miho Morinoue is an acclaimed dancer and a visual artist. As a member of the Complexions Contemporary Ballet Company she performed extensively in the...

Color lithograph, Edition 30. (Irregular shape) The artist states: “2013 is the year of the snake and I am celebrating it in this print to honor the Chinese calendar but with a pre-Columbian twist. In the Chinese horoscope...

Color lithograph, Edition 30. Known for paintings based on historical Chinese photographs, Hung Liu's subjects over the years have been prostitutes, refugees, street performers, s...

Color woodcut, Edition 15. John Buck is both a sculptor and a printmaker. He works with two interrelated bodies of work: carved wood, assemblage and bronze sculptures, and large, ...

Color lithograph, Edition 25 Barbara Takenaga is a painter who made her first lithograph at Shark's in the summer of 2002. Her abstract works are full of repeated, obsessive mark ...

Color lithograph, Edition 25 Bernard Cohen has exhibited his work widely in England, Europe, the United States and Asia. He has had several retrospective exhibitions, including wo...

Color woodcut/relief, Edition 15 Using a pen, a nail or his fingernail, Buck incises the wood planks that form the base and background of his prints with images and symbols drawn ...

Color monoprint Burckhardt's Debris monoprints are meant to conjure a Western landscape, with Big Sky expanses coupled with flood washed rubble. The prints are not intended to be ...

Color lithograph, Edition 20. Don Ed Hardy’s lithographs, created in the spring of 2007, continue the “look” of his Ghost Writer painting series which has been developed over the past five years. They are evocative of ancient Chinese stone rubbings, or x-rays. Both prints refer to earlier images from Japanese art history. Floater, a meditating skeleton poised above surging waves, was done from memory after a 19th century Japanese painting...

Color lithograph, Edition 25 Italo Scanga was a painter, sculptor and printmaker. After a childhood spent in Italy, Scanga matured as an artist in his adopted home, the United Sta...

Color monotype Juarez’s most recent prints are four groups of monoprints Cowboy’s Delight II, Copper Mallow, Yucca Bloom and Flowers and Pearls. Juarez gathered wild flowers from ar...

Color lithograph, Ed. 25 The artist describes his work: My work has often been described as belonging to a category of ‘reductive, geometric abstraction’. In the last decade ho...

Color lithograph with chine collé, Edition 30. William Wiley uses current political and social issues to comment on life in our time. His stunning draftsmanship, and freeform lov...

Color lithograph, Edition 20. The artist describes this project: “Human activity is causing the mass extinction of plant and animal species at an alarming rate. I paint carefully rendered, miniature portraits of endangered animals into larger compositions to raise questions about Earth’s biodiversity crisis and the place of wildlife within increasingly unstable habitats. The swirling and exploding shapes and colors represent how our progressively chaotic environment is displacing fauna and the systems that support it. This lithograph includes an image of Colorado’s state bird, the lark...

Color woodcut, Edition 30. Betty Woodman’s woodcut “Kabuki Space” places images of a pair of her pots in an exuberant Japanese inspired stage-like interior. Woodman blends colors,...

Color lithograph, Edition 45. Yvonne Jacquette depicts our urban world from a vantage point high above us. From her perch, she brings order and context to the crazy world we have made. Neon signs, strings of cars on dark highways, bright lit windows viewed from the top of a skyscraper or from an airplane window...

Color lithograph. Edition 30. Claire Sherman is a painter who made her first lithographs at Shark’s in the summer of 2018 including the prints Underbrush and Tree and Water. Her paintings and prints propel the viewer into a claustrophobic and unstable world through a perspective that shimmies between representation and abstraction. Her works reference idealistic visions of the sublime, while the medley of imagery presented eliminates the need to identify the actual places – these works do not seek to portray a specific view or experience. They address the ubiquity of imagery we associate with the genre of landscape, nullifying a sense of particularity. Claire Sherman is an Associate Professor at Drew University in New Jersey. She has completed residencies at the Terra Foundation for American Art, the MacDowell Colony, the Marie Walsh Sharpe Art Foundation, Yaddo, The Albers Foundation, and the Lower Manhattan Cultural Council’s Workspace program. Recent exhibitions include solo shows at DC Moore...

Color lithograph/tape/collage in 9 parts (5 x 5" each). Brad Brown uses unusual approaches in making his work. Over a period of several years he worked and re-worked a group of drawings...

Color lithograph, Edition 30. Barbara Takenaga is a painter who made her first lithograph at Shark’s in the summer of 2002. Her abstract works are full of repeated, obsessive mark...