Leslie Bostrom Mixed Media

Artist : Kory Twaddle "Autumn Biogram of the Nelson" Newsprint, graphite, conté crayon pastel, charcoal, beeswax, cardboard, paper, gingko leaves, stickers, and Mixed Media on drawi...

Abstract drawing on paper of graphic bold lines in an antique wood frame with gold detail Graphite and pale blue colored pencil 28 x 21 inches framed This vertical, black, white and light blue graphite and acrylic drawing was inspired by the Russian Constructivist art movement. The work is drawn in an abstracted cubist style where the artist composes bold white overlapping arcs on a black background with cross hatching details of light blue acrylic. Through the continuous layering of the graphite pencil and acrylic the artist makes interesting thick, shard like shapes. The pale blue acrylic is concentrated at the center of the drawing and radiates outward, creating interesting depth and textural effects. The artist fit the original drawing to a mid century modern wood frame, measuring 28 x 21 inches. The frame exhibits some wear consistent with age, which is an intentional decision made by the artist. About the artist: A recent visit to David Dew Bruner’s train depot converted artist studio in Valatie, NY confirmed that the man does not sleep. Nor has he entirely put to rest the various series of graphite drawings on paper presented in a stunning array of mid-century and antique frames that were exhibited at the gallery last year. The still lives and figures inspired by artists like Velasquez, Morandi, and Lindner are morphing on a continuum of brilliance; the highly graphic influences of the Italian futurists like Giacomo Balla and Marcel du Champs, as well as the more obscure English Vortex movement have taken hold of Bruner’s intuitive approach to design as he channels it into his own drawings. The series of Infanta figures are emboldened with a new perspective and scaled up in size. A recent series of Arcs reference the gestural abstract shapes prevalent in the aesthetic of the Russian Constructivists. These works explore depth, movement, space and repetition that is more about design than reference. Bruner tastefully pairs drawings with a vintage frame from his collection, refashioning mirror frames from the 1960s or hand painting an antique Italian frame...

Santi Moix Consilience, 2009 Crayon and pencil on paper Signed and dated 2009 in crayon on the front Unique Frame included Provenance: the Artist and Kasmin Gallery This exquisite, u...

Meg Hitchcock The Luminous Regions of the Sky, 2024 Text from Lucretius’ On the Nature of the Universe, acrylic, graphite, colored pencil 22.5 x 18 in. frame size: 27 x 22.25 in. (Hi...

Nam June Paik Untitled, Plate Six from Novecento, 1992 Mixed Media: Color offset lithograph with unique chalk pastel drawing 13 3/10 × 18 inches Hand signed, Edition 104/130 Pencil numbered 104/130, hand signed in pastel chalk on the front Edizioni Carte Segrete, Rome, Italy Excellent condition; held in matting which can be easily removed The matting measures 18" x 21" This was part of a series of works produced for the Nam June Paik retrospective at the Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche. This is one of the editions which bears unique hand coloring with pastel chalk. A comparable work sold at auction in 2015 for US $12,583. (see details below): Nam June Paik Title Novecento Description Nam June PAI K Novecento 1930-1940, 1992 Pastel sur offset en couleurs, épreuve signée et numérotée 104/130 Edizioni Carte Segrete, Rome 23,5 x 39,5 cm EH Oeuvre réalisée a l'occasion de la rétrospective Paik au Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche, cinema e Media Verso il XXI Secolo Medium pastel Year of Work 1992 Size Height 9.3 in.; Width 15.6 in. / Height 23.5 cm.; Width 39.5 cm. Misc. Signed Sale of Millon & Associés: Monday, June 22, 2015 [Lot 00090] Design Sold For 11,057 EUR Hammer (12,583 USD) Nam June Paik Biography Nam June Paik was born in 1932 in Seoul. He received a BA in aesthetics from the University of Tokyo in 1956 where he also studied music and art history. After graduating, he studied for a year with composer Thrasybulus Georgiades Georgiades at the University of Munich and for two years with composer Woflgang Fortner at the International Music College in Freiburg. He attended the International Summer Courses for New Music in Darmstadt in 1957, when he met Karlheinz Stockhausen, and in 1958, when he met John Cage. Cage, and through him Marcel Duchamp, had a significant influence on Paik as he became a major force in the avant-garde through performances. In Hommage à John Cage (1959), Paik employed audiotape and performance to attack traditional musical instrumentation and compositional practices, splicing together piano playing, screaming, bits of classical music, and sound effects. Realizing that taped sound was not enough, he decided to move into performance, first by introducing performative actions into his audio works. In 1961 Paik performed Simple, Zen for Head and Étude Platonique No. 3, in which he became a volatile figure, thrashing about in unexpected patterns and sudden movements to his signature soundtracks. In 1962 Paik participated in the Fluxus International Festival of the New Music in Weisbaden. Paik's first exhibition, entitled Exposition of Music - Electronic Television, in 1963 at Galerie Parnass at Wuppertal, launched his transition from composer and performance artist to the inventor of a new art form: an engagement with the material site of television as an instrument. In the exhibition, thirteen televisions lay on their backs and sides with their reception altered; for example, Zen for TV (1963) reduced the television picture to a horizontal line and Kuba TV (1963) shrank and expanded the image on the television set according to the changing volume. In 1964 Paik traveled to the US. He quickly settled in New York and became a leading innovator among an emerging generation of artists seeking new modes of artistic expression and distribution. That same year, Paik collaborated with Shuya Abe to create Robot K-456 (1964), a remote controlled robot that played audiotaped speeches by John F. Kennedy and defecated beans in Paik's Robot Opera (1964). In the interactive work Magnet TV (1965), Paik invited viewers to modify the television's output into swerving abstract lines through the movement of a magnet over the TV. In 1967 Paik and frequent collaborator Charlotte Moorman were arrested when Moorman performed Paik's Opera Sextronique (1967), a striptease as she played the cello at the Filmmakers' Cinematheque in New York. Paik's TV Bra for Living Sculpture (1969), which Moorman wore in performances, featured two television tubes...

This mixed media painting is of crabs caught in a net. Framing the cerulean blue crabs are green and violet grapes hanging off of a branch. There houses in the fishing village have lights on; the houses on the shoreline run the gamut in colors like magenta, turquoise, and yellow ochre. On one of the crab's claws is the Puerto Rican flag...

Meg Hitchcock With Millions of Arms, Eyes, and Bodies, 2023 Text from the Bhagavad Gita, acrylic and graphite on paper 22 5/8 x 18 in. frame size: 27 x 22.25 in. (Hit001)

Between September 2018 and April 2019, I created 100 small paintings consecutively. I endeavored to make nothing else and viewed the project as an opportunity to experiment and solid...

Peter Peereboom (1952) graduated from the Royal Academy of Arts in The Hague. He has various solo shows on his name including Centre Pompidou Paris in ...

This is an original paper, charcoal, pastel, graphite, and acrylic on wood panel artwork by Seth Clark measuring 40”h x 30”w. Seth Clark grew up in Seekonk, Massachusetts and stud...

Meg Hitchcock The Nine Eyes Widely Opened, 2022 Text from The Tibetan Book of the Dead, acrylic graphite, ink, embroidery thread 14 x 11 in. frame size: 17.75 x 14.75 in. (Hit005)

Linda Stein began to produce sculptural tapestries in 2013, in which she combines archival images of a subject with multiple fabrics and leather. Toward Words 1205 is one of Stein's abstract works, in which she repeats the same letters through the artwork: a demonstration of how letters are used toward making words. All the other tapestries from this abstract series are in the Permanent Collection...