Dianne Baker Art

A broad pink relief crosses a black domino-shaped panel in this mixed-media work by Vera Vizzi. Large white dots remain visible along the sides. Small opaque and translucent construc...

Jose Margulis is a contemporary artist whose work explores the space where art, science, and philosophy meet. Best known for his three-dimensional geometric constructions, he works w...

Wall sculpture assemblage by Gertie Lowe, from 1978, is a conceptual abstract with everyday objects. Muted neutral tones are contrasted with vibrant accents. Signed and dated verso...

"I VI" is an original artwork by Shaun Kardinal made of woven paper ephemera and artist's tape. It measures approx. 65"h × 58"w. Shaun Kardinal is a cross-disciplinary visual artist...

III (Wish #1, Wish #2, Wish #3) Set of 3 Wishbones - Peter Norton Christmas Gift Fanciful set of three different wishbones by Lorna Simpson (American, b. 1960). Three wishbones, one...

Jose Margulis is a contemporary artist whose work explores the space where art, science, and philosophy meet. Best known for his three-dimensional geometric constructions, he works w...

A glossy pink relief with small blue and cream accents spreads across a black wooden panel in this contemporary wall sculpture by Vera Vizzi. The pink form has an irregular, softly d...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck arrived, but in that moment it was a revolving abstraction of potential, delineation, growth, and destruction. Once filled it was gone: the plywood was stripped away, the earth was backfilled. To suspend that moment he began building models of formworks. Leaving them unfilled, they are perpetually unfinished. From models based directly on architecture, Horstman expanded to forms found in the landscape. Making a formwork that depicts constraint upon the landscape is not exactly a reversal of the formwork’s function, but it asks different questions than a formwork designed for a building would. Why would you make a cement creek? What is the relationship between a flowing creek and poured cement? Is this a barrier or just delineation? For River Woman ODETTA, in addition to several small sculptures in the Flat File, Horstman will install Formwork for the East River, which describes that river’s shape as it flows from Rikers Island to the tip of Manhattan. The 3 x 18 x 7 foot sculpture...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...

Turquoise and black mixed media wall relief by Vera Vizzi, made in 2026 with foam clay, enamel and acrylic on solid wood. A glossy turquoise, icing-like form flows over the upper par...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

Mogan David 42.0 x 4.0 x 3.0, 17.0 lbs Wood Founder's stamp Artist's Commentary: "The maple lines emanate from the maple border in a purpleheart background and intersect to create the subtle Mogan David (Jewish star). I work with wood like a painter works with oils and a sculptor with stone. From a distance, lines, shapes, contours and shadows are easily seen but when you move from side to side, the change in perspective alters the image like the features of a face when it turns. If a light source moves, shadows in the piece move with it like the sun moving across a landscape. As you approach the piece, shallow contours appear like swells on a lake and intricate patterns emerge. You can't help but touch the smooth flowing surface to feel the highly finished solid wood. The furniture grade modified tung oil allows that. It also makes my art easy to clean if necessary. The lines and shapes in my art are the natural colors of solid wood joined along curves. No inlays, veneers, dyes or stains are used." About the Artist: Marc Lamm is a self-taught wood-artist who has been art since 1973. In 1996, he began developing techniques which he uses in his art. In 2011, he began making wood-wall-sculptures and has pieces in Mayo...

This sculpture titled "Crossing Paths: Sunset" is an original artwork by Kelly Kozma as part of her newest exhibition, "Watch Me Backflip." This collection is made up of meticulously...

Where do we come from? Where are we going? What the hell is going on here? 2017-2018 Hand cut paper in wood box Gil Scullion’s conceptual text-based work has been featured in exhibi...