Jun Kaneko Art

"Scalloped Basket" is a stoneware piece with the decorative layer of the rich toned glazes and markings that John was so well-known for. He was, also, known for the undulating lip lines on his exquisite pieces. The basket portion is shaped with gentle curves and a sculptural handle. Each piece that John produced was unique. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This particular "basket" also has the cool blues and grays that contrast with the umber. It is signed and stamped on the bottom. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

Multicolored abstract ceramic sculpture titled "Reef Ware iV" by Lauren Skelly Bailey. Glazed stoneware with gold. Size: 7 x 6 x 5 inches. Dedica...

Sara Fine-Wilson's “Pucker" is a gestural 12.5 x 10 x 10 inch ceramic sculpture in white and cream constructed in white stoneware in a graceful fluid form. Individual slab forms in white are assembled and then layered in glaze in a way that emphasizes the smooth fluid quality of the form. Sara Fine-Wilson is a contemporary sculptor based in the Boston area. In  her work she explores ideas about the emerging form of our subconscious mind. She also explores material, process and pushes boundaries. Fine-Wilson is represented by Fountain Street Gallery...

This is a mixed media monoprint titled Homage a Sam (I first thought it was for Sam Gilliam but the artist told me it was for Sam Francis. He has done a number of these Homages as I ...

TUSET (1997, A Coruña, España) Mixed media painting on paper Ready to frame One-of-a-kind Signed on back Includes certificate of authenticity 2021 65 x 50 cm. It belongs to the ser...

Sara Fine-Wilsons ”Turn” is a gestural 10.5 x 8 x 6.5 inch ceramic sculpture in cream and white. In this graceful and evocative sculpture individual twisted elements are assembled an...

Sara Fine-Wilson's "Tousle" is a gestural 13 x 10 x 8.5 inch ceramic sculpture in white and cream with accents of grey and blue. It is constructed out of white stoneware with porcelain...

Robert Rauschenberg 'Snowflake Crime XIX', from the ACE Gallery Collection, 1981 Solvent transfer, acrylic and fabric collage on handmade paper with deckled edges Signed and dated '81 in permanent marker on the back; bears unique artist inventory number on the back This is a UNIQUE work of art 7 3/4 × 7 1/2 inches This work is affixed on the top to its original mat, and the artist's hand signature can be seen on the verso, along with the date and artist's unique inventory number. Rauschenberg Reference No: RR-81.002 Signed and dated '81 by Robert Rauschenberg in permanent marker on the verso; bears unique inventory number Provenance: ACE Gallery art collection...

An acrylic and caran d'ache abstract drawing of the moment in the season when it is so crips and quiet that your shoes make clear tracks frozen in the snow. This drawing was produce...

Arlene Shechet Summer Set 8, 2005 Watercolor monoprint on dieu donné hand made paper 21 × 27 1/2 inches Signed and dated in graphite on the front Exquisite watercolor monoprint on di...

Original work by Mary Early. Graphite, wax crayon, and sumi ink on Arches paper, 12.25 x 16". "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Sara Fine-Wilson's “Flip" is a gestural 13 x 16 x 9 inch ceramic sculpture in white and cream with accents of blue and grey constructed from white stoneware. In this graceful and evo...