Kelly Bugden + Van Wifvat Art

ANNE-VALÉRIE DUPOND (b. 1976, France) Anne-Valérie Dupond, born in 1976, studied at Marc Bloch University in Strasbourg, and obtained her Master’s degree in Fine Arts in 2000. Since...

Jenny Holzer USE WHAT IS DOMINANT IN A CULTURE TO CHANGE IT, 2003 Hand Blown Glass Bowl 4 × 10 × 10 inches Edition 68/200 Signed and numbered 68/200 on the underside with Holzer's in...

Sezione Aurea 2024-013 is a unique wall sculpture by contemporary artist Mattia Bosco. This sculpture is made of Palissandro marble and gold leaf, dimensions are 67 × 39 × 6 cm (26.4...

This elegant handcrafted ceramic urn with a smooth oval shape, delicate stands soft green and pink tones with fine decorative details, blending timeless design and natural inspiratio...

This abstract geometric mixed media piece was done by fiber artist, Jin-Sook So (b. 1950, Korea). So grew up in Seoul, Korea where she received a master's degree in textile art, afte...

Hand carved aspen wood sculpture torched burnished and painted Greg Joubert was born in 1977 and raised in the seaside New England town of Hingham, Massachusetts. Joubert gained hi...

The sculpture, Banquet III - Time Capsule Project , is one of the pivotal pieces showcased in the 2016 London exhibition titled “ White. It is within an on-going project by Shizico Y...

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...

This abstract geometric mixed media piece was done by fiber artist, Jin-Sook So (b. 1950, Korea). So grew up in Seoul, Korea where she received a master's degree in textile art, afte...

"Folded Form I", steel mesh, painted, electroplaited, gold and silver leaf, 12 1/4" x 12 1/4" x 12 1/4", 2004. This abstract geometric wall sculpture was done by fiber artist, Jin-S...

An original conceptual hand carved and joined wood wall sculpture by Kevin Kegler. This work is currently featured in the artist's solo exhibition inside The Corridors Gallery at ...

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...