Alessandro Mendini Art

Edition 6 of 8 Noe Kuremoto — A Contemporary Keeper of Ancient Wisdom Noe Kuremoto’s work exists at the intersection of mythology, memory, and modernity. A ceramic artist of singul...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his travels. In his ongoing series of memory jugs, Thompson adorns stoneware vessels with a kaleidoscope of ceramic shards, found objects, and pocket-sized trinkets he collected over the course of his life. Also known as forget-me-not jugs or spirit jars, memory jugs are African American folk art objects that honor a loved one who has recently passed. Small tokens and mementos of the deceased are gathered and affixed to the exterior of a jug or vase, an abundance of memories that celebrates a life lived to the fullest. Michael Thompson applies this tradition to his own practice, creating tactile assemblages of this and that. Formed in the manner of collage, each jug honors the lost memories of generations past and his own memories of personally discovering each item. With varied sources for materials including Kyoto, Turkey, and Mexico, a great number of the found shards are 18th and 19th century ceramics...

“Carry the song..” Carry the song of my breath to your chest. And you will call me back. And like this we will find one another. No matter how lost we may be. I won’t give up. This ...

Above it All 48.0 x 40.0 x 1.0, 2.0 lbs Mixed Media Hand signed by artist Artist's Commentary: "The inspiration for, Above it All is what you see when you look out the window of ...

Original hand cast bronze dual figure of a hollow dressed torso of a male and female representing Adam and Eve in the Garden of Eden. The bronze sculpture is attributed to the American sculptor Judith Shea. This piece is a maquette for a life size bronze executed by this artist that is located in an outdoor space in Buffalo, New York. Both are titled “Eden” and were done in 1987. Condition is excellent. Unsigned. Label on the bottom of the thick pine base states the artist and title of the artwork. Provenance: A Long Island, New York collector. Judith Shea has been a notable presence in the New York art world since the 1970s. Trained as a designer at Parsons, she soon found the fashion industry too restrictive and abandoned it in favor of making art. For her first solo show, at The Clocktower in 1976, Shea made a work based on color theory, using transparent silks in a spectrum of colors, worn by a live model. Other early work referenced clothing and its construction, first as flat, minimalist pattern and later as molded draping over implied, absent figures. In the 1981 Whitney Biennial, Shea showed three simple forms that evoked iconic clothes of the 1950s and 60s—the overcoat and the simple sheath dress—which hung from the wall as if on hangers. Five related works were included in the Hirshhorn’s Directions 83 survey. All of these works evoke human presence, felt as absence, as if the clothes were placeholders for missing persons. Thinking about her earlier clothes-based works, Shea has said that she “was looking for characters, for personae, really, to occupy them. I used clothes as stand-ins for people.” With the support of NEA grants, Shea began to learn bronze casting, and she was able to also spend time in Paris studying the statuary of its parks and gardens. This research led to several hollow-figure compositions from the 1980s that were designed to be sited in public spaces, such as Eden (John Hancock Tower, Chicago), Shepherd’s Muse (Oliver Ranch), Shield (Sheldon Museum of Art), and Without Words (Walker Art Center). In the 1990s, after a residency at Chesterwood—the site of Daniel Chester French’s studio in Stockbridge—Shea began to use woodcarving to make monumental public sculpture. The first of these full-scale wooden figures were shown in 1992 at the Whitney Museum at Phillip Morris in New York. In 1994 her wooden equestrian statue The Other Monument, a monumental image of a black man on a black horse, was installed at Doris Freedman Plaza in New York, in the same plaza as the William Tecumseh Sherman...

"Raku Vase with Fireworks" is an original ceramic vase by Marty Marcus. The artist signed the piece on the bottom. It features brightly colored abstract patterns on an earth-toned background. The vessel is a unique piece of décor priced well under $900. Part of the Design Lovers Sale...

Mixed media sculpture on base of a woman wearing a hat.

Edition 5 of 8 Noe Kuremoto — A Contemporary Keeper of Ancient Wisdom Noe Kuremoto’s work exists at the intersection of mythology, memory, and modernity. A ceramic artist of singul...

“We had been mountains…” We had been mountains, and now a canyon cutting to the core of the Earth. Never to collide again. An end but not my end. I still hope you find the love of me...

This romantic and lovely Alabaster marble is classic Jose De Creeft who was a world recognized stone sculptor carver. He has a remarkable career and story. And this work is what he is best known to do. Female form that has face and form emerging from rougher hewn areas of the stone. This was a technique that Rodin used as well and was popular around the turn of the century. Size is attractive as it can go on a well balanced table or a pedestal of easy size! Provenance: The Hannelore and Rudolph Schulhof Collection, New York* *Ecstasy was originally a part of the Schulhof Collection, founded by the couple Hannelore and Rudolph Schulhof and begun a few years into their marriage in the 1950s. The established collection is known for exceptional Postwar works including pieces by Johns, Rothko, and Twombly, to name a few. As Hannelore Schulhof stated in 2011, “Art is almost like a religion. It is what I believe in… it is what gives my life dimension beyond the material world.” Signed: J. De Creeft in the rear The stylized, placid face of Ecstasy, as well as the contrast between smooth and rough-hewn stone, are typical of de Creeft’s hand and instantly recognizable. Its natural alabaster inclusions and the generally fragmentized feel of the piece are both essential to its aesthetic and classic de Creeft. The Guadalajara-born sculptor studied alongside Rodin at the Académie Julian starting in 1905 and would eventually become Alexander Calder’s tutor in direct carving. Ecstasy was undoubtedly inspired by a wide variety of influences that had a profound effect on his work, including his early employment at the young age of six earning pennies by carrying stones to aid the construction of Gaudí’s Sagrada Familia, and an inspiring encounter with Inuit sculptors in Madrid’s El Retiro Park during the nascency of his career. Towards the mid-20th century, de Creeft was working within a group of Spanish expatriate artists in New York, including Vicente and Dalí. 1956, the year he carved Ecstasy—using the method of direct carving of which he was a firm proponent—marked the year he gained representation at the Contemporary Galleries in New York City. He would exhibit biannually there until 1966. In the 1950s de Creeft received numerous public commissions, including an eight-foot granite Poetess for the city of Philadelphia in 1951 and his famous 16-foot Alice in Wonderland climbing sculpture...

Gold Laugh (1980-85) metallic and acrylic thread, cotton. Gold, Metallic Woven Abstract Textile Sculpture. Textile artist, Micheline Beauchemin (1929-2009) was born in Longqueuil, Quebec, Canada. She has created a repertory of various works which includes theatre curtains, tapestries, wall hangings, embroidery murals, flexible walls, stained glass works, scale models, collages, toys, costumes and illustrations. Micheline Beauchemin began her career making stained-glass windows but early on turned to weaving and embroidering spectacular wall hangings in vibrant colors, including blues and greens. travelled and studied in Japan, China, India, North Africa, the Canadian Arctic and the Andes, adding depth and mystery to the love of light, water, wings and nets that is evident in her body of work. Beauchemin’s works are included in the collections of the National Gallery of Canada, Ottawa; the Montreal Museum of Fine Arts; the Musée du Québec; Pearson Airport, Toronto; the Canada Council, Ottawa; the Canadian Museum of Civilization, Gatineau; the Bibliothèque Centrale, Quebec; the Taxation Data Centre, Shawinigan; the Revenue Building, Québec; North York...

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