Made In Italy

Bonnie Seeman grew up in Miami, Florida with a propensity towards anatomy illustration and the dazzling colors and rich foliage of the Miami landscape. Developing her technique with...

Ana Maria Farina paints using a gun––a tufting gun––along with needles, hooks, and knots. Repurposing a phallic signifier of violence, she conjures vibrant objects of comfort that in...

Ana Maria Farina paints using a gun––a tufting gun––along with needles, hooks, and knots. Repurposing a phallic signifier of violence, she conjures vibrant objects of comfort that in...

Ana Maria Farina paints using a gun––a tufting gun––along with needles, hooks, and knots. Repurposing a phallic signifier of violence, she conjures vibrant objects of comfort that in...

Ana Maria Farina paints using a gun––a tufting gun––along with needles, hooks, and knots. Repurposing a phallic signifier of violence, she conjures vibrant objects of comfort that in...

“If subliminal means that which is below the threshold of ordinary consciousness and perception, then the liminal is the point of emergence, the threshold itself, the turning point b...

KANSAS CITY WATER TOWER (INV# NP5057) Dan Anderson (1945 - 2023) clay, glaze, and decals with metal base woodfired ceramic! 11.5 x 8 x 8” circa 2016 signed RARE!

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the...

Kristina Fjellman, a Minnesota-based visual artist and performer, seamlessly blends sculpture and performance art in her captivating work. With exhibitions spanning the Midwest and T...

This tufted work features hues of blue, green, and red. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based artist Trish ...

This nostalgic tufted work features hues of blue, maroon, orange, and pink. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah...

This tufted work features hues of blue, green, and red, pink, and orange. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-b...

This nostalgic tufted work features hues of blue, green, orange, and red. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-b...

This tufted work features hues of blue, maroon, orange, and green. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based ar...

Katherine Bust Atelier, Terracotta draws on Richard MacDonald's unique sensitivity to the experience of the dancer. Based on a classical study for the masterwork Dance the Dream, thi...

“A silent medium within a silent medium.” These are the words contemporary master Richard MacDonald uses in describing his world renowned Mime Series. MacDonald’s trademark skill at ...

This tufted work features hues of blue, cream, and orange. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based artist Tri...

This nostalgic tufted work features hues of blue, green, orange, and red. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-b...

This tufted work features hues of blue, yellow, maroon, green and pink. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-ba...

This tufted work features hues of blue, green, pink, and red. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based artist ...

This tufted work features hues of blue, red, green, teal, and white. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based ...

This tufted work features hues of blue, cream, orange, and red. Trish Andersen is inspired by the work of Shelia Hicks, Cy Twombly, Judith Scott and Nick Cave. Savannah-based artis...

German sculptor Nando Kallweit produces figurative bronze sculptures and reliefs with aquiline and a graceful modern appeal. Kallweit is inspired by seemingly disparate cultures; the...

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

Dr. Lisa's Ego Championship Trophies Lisa Levy is a painter, conceptual artist, comedian and (self-proclaimed) psychotherapist. Lisa's visual career started when she was 3 1/2 ...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are confi...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish...

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consist...

Susan Hensel designs images in the computer using specialized software.  It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...

Norma Marquez Orozco explores concepts of impermanence, perception, form and balance through physical movement of the work itself in a lucid, game-like context, like puzzles. All the elements are made of paper, molded into three-dimensional forms. The repetitive geometric shapes are assembled inside boxes built out of translucent paper. The arrangement is random and unfixed to allow movement and unpredictable composition. The harmonies and tensions in the work arise from different exchanges between the colors, the patterns, and the geometric and organic shapes, as well as the sense that change is constantly occurring as the elements shift and move. When one looks at these compositions, you see them for the first time, every time, because what is creating and completing the artwork is always changing; such as light, weather and forms merge and interact. As a result of these dynamic relationships, the work extends beyond her personal hand, sustaining an appearance and composition entirely of its own. Norma Márquez Orozco was
 born
 in
 Chicago,
Illinois,
 and
 raised
 in
 Guadalajara,
 Jalisco,
 Mexico. Her work can be seen as an investigation into the way relationships emerge and evolve when elements like color, form, shape, lines, angle and pattern are blended, shifted and layered. She currently lives and works in New York City. Marquez Orozco
 has
 curated
 exhibitions throughout
 New
 York
 and
 has hosted
 lectures
 and
 artist
 talks
 for
 the
 public. In
 2001
 she founded
 Floor4Art, an
 alternative
 space
 in
 West
 Harlem
 that
 houses
 artist’s
 studios
 and
 exhibition
 space
 aimed
 at
 producing,
 promoting
 and
 connecting
 artists.
 Exhibition venues include: ODETTA, Brooklyn, NY, Longwood Art Gallery, Queens Museum, The (S)Files 007/ El Barrio...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish...

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish...

Kathleen Vance explores environmental issues such as water conservation and protection through positive stewardship of the land. She looks to convey an appreciation of nature and tra...

Michele Brody, Re-Blooms, Installation, Handcast Paper, Bamboo, 8'h x 5'w x 3'd, 2019 The essence of Michele Brody’s work thrives on the interaction with new communities and place-...

These new paintings and works on paper are the outgrowth of experimentation that seeks to bring the work to a newer outpost of Baker’s search for an honest self-revelation. The new s...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are confi...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, the celestial and terrestrial. Her imagery is often associated with molecular and galactic systems. Combin...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows he...

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

"Woman with Head of Roses" or "Femme à Tête de Roses" is a bronze sculpture by Surrealist Salvador Dali. This interesting piece, referenced by Descharnes as number 684, includes a pl...

Edition of 9 Comes attached to a black steel base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Edition of 9 Comes attached to a black steel base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Edition of 9 Comes attached to a black base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Edition of 9 Comes attached to a black steel base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Architecture, functional objects and the human gestures that occur when interacting with these structures inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces,...

Michele Brody, Nature in Absentia: Cattails Plucked Out, Handmade Cast Paper The essence of Michele Brody’s work thrives on the interaction with n...

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...

There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...