Clarence Underwood Mixed Media

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...

Andy Warhol Marilyn Monroe (Pink), 2022 Acrylic-printed Marilyn lined with pink and yellow neon LED artwork with energy-efficient tubing, full board backing Box is plate signed; acco...

Artist: Santiago Perez Cordoba Title: Robert Mitchum – Farewell, My Lovely Year: circa 1990 Medium: Mixed media on board Signature: Signed on the reverse Style: Figurative / Film noi...

"The Key" Abstract Mixed Media Painting 48 x 48 in by Yoram Katz Medium: Mix Media on board Size framed: 50 x 50 in ABOUT THE ARTIST: Born in Israel. Graduated from the Bazelel Ar...

Leuus’s interest in art began at a young age, and he later moved to Guadalajara, where he attended the Escuela de Artes Plásticas. This formal training in the traditions of Mexican a...

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 derby cars of his youth, eac...

'Dawn on Silk' Original Artwork, Unframed _________________ Capturing the pulse and flush of fleeting youth. Sap rising through branches, buds, blossoms; like blood through the vein...

Diana Kurz Small Green Pale, circa 1960-61 Collage and mixed media on board 12 1/2 x 10 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's fa...

Shusaku Arakawa Still Life, from To and From Rrose Selavy, for Marcel Duchamp, 1967 Limited Edition Silkscreen on velincarton (thin board) paper 10 1/2 × 13 1/4 inches Limited Edition of 60 Hand signed, titled and dated on the front Unframed The entire portfolio, including the present work, is referenced in the Marcel Duchamp catalogue raisonne: Arturo Schwarz The Complete Works of Marcel Duchamp, Abrams, P.532, 344c Eager to share Marcel Duchamp with Japanese audiences, Shuzo Takiguchi - a Japanese-born poet, critic, and artist with ties to Surrealist circles, assembled an international portfolio of graphic works by various artists with strong ties to Duchamp, to accompany the deluxe version of his monograph, "To and From Rrose Sélavy". The present work was created for this portfolio by one of Marcel Duchamp's friends, Shusaku Arakawa. It is signed, dated and titled on the front - and can be exhibited both vertically and horizontally - (see photos). The present work, along with others in the portfolio, was published in Japan and is rarely found stateside. Shusaku Arakawa (荒川 修作 Arakawa Shūsaku, July 6, 1936 – May 18, 2010) who spoke of himself as an “eternal outsider” and “abstractionist of the distant future,” first studied mathematics and medicine at the University of Tokyo, and art at the Musashino Art University. He was a member of Tokyo’s Neo-Dadaism Organizers, a precursor to The Neo-Dada movement. Arakawa’s early works were first displayed in the infamous Yomiuri Independent Exhibition, a watershed event for postwar Japanese avant-garde art. Arakawa arrived in New York in 1961 with fourteen dollars in his pocket and a telephone number for Marcel Duchamp, whom he phoned from the airport and over time formed a close friendship. He started using diagrams within his paintings as philosophical propositions. Jean-Francois Lyotard has said of Arakawa’s work that it “makes us think through the eyes,” and Hans-Georg Gadamer has described it as transforming “the usual constancies of orientation into a strange, enticing game—a game of continually thinking out.” Quoting Paul Celan...

A wonderful little abstract gem by Sarkis Sarkisian entitled Still Life with Cream Pitcher. It is a vibrant and beautiful example of mid-century modern abstraction. Framed in a t...

Conditions : Near mint Conditions. Framed under glass with its original frame. Signed lower part by the artist in pencil. Painter and Aquarellist. Nanterre (92) March 13th 1900 – C...

"As an African-American artist in today’s world, I embody the vast differences found in our collective backgrounds. I view them as cultural assets. We are always self discovering and...