Paul von Ringelheim Abstract Prints

Number 84 in an edition of 100 prints. Signed. Robert Gordy was an iconic New Orleans painter. He was part of the "Art and Decoration" movement that also ...

Roy Lichtenstein, 'Paper Plate', serigraph, 1969, edition unknown, Corlett III.45. Printed in dark blue ink verso, 'Roy Lichtenstein © On 1st Inc. 1969'. A fine impression, on white paperboard pressure formed into a 3-dimensional plate; age toning verso, otherwise in very good condition. Published by Bert Stern, New York. Image size 10 1/4 inch diameter, 1-inch depth. Archivally sleeved, unmounted, unframed. Carefully protected for shipping. Literature: John Russell. 'Art: Time for Old-Master Prints', New York Times (July 27, 1979), p. C16. Jan Howard. 'Reflections on 'The Prints of Roy Lichtenstein', Print Collector's Newsletter 26 (July–August 1995), p. 82. Mark M. Johnson. 'The Great American Pop Art Store: Multiples of the '60s', Art & Activities 123 (June–Summer 1998), ill. p. 37 (color). Mary Lee Corlett. 'The Prints of Roy Lichtenstein: A Catalogue Raisonné', New York, 2002, p. 286, no. III.45. Susan Dackerman, ed., 'Corita Kent and the Language of Pop', exhibition catalog, Harvard Art...

Abstract Hebrew Prints on heavy mould made paper from small edition of 15. there is a facing page of text in Hungarian folded over. Hard edged geometric abstract prints in color base...

Deborah Kass (born 1952) Limited edition geometric abstract lithograph in colors on artist paper. Hand signed and dated in pencil to lower right. 1973. Edition: 102/120 to lower left. Dimensions: sight: 16-3/4" W x 21-1/4" H. Frame: 24-5/8" W x 28-7/8" H. Finding inspiration in pop culture, political realities, film, Yiddish, art historical styles, and prominent art world figures, Deborah Kass uses appropriation in her work to explore notions of identity, politics, and her own cultural interests. She received her BFA in painting at Carnegie Mellon University and studied at the Whitney Museum Independent Study Program and the Art Students League of New York. Deborah Kass (born 1952) is an American artist whose work explores the intersection of pop culture, art history, and the construction of self. Deborah Kass works in mixed media, and is most recognized for her paintings, prints, photography, sculptures and neon lighting installations. Kass's early work mimics and reworks signature styles of iconic male artists of the 20th century including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha. Kass's technique of appropriation is a critical commentary on the intersection of social power relations, identity politics, and the historically dominant position of male artists in the art world. Deborah Kass was born in 1952 in San Antonio, Texas. Her grandparents were from Belarus and Ukraine, first generation Jewish immigrants to New York. Kass's parents were from the Bronx and Queens, New York. Her father did two years in the U.S. Air Force on base in San Antonio until the family returned to the suburbs of Long Island, New York, where Kass grew up. Kass’s mother was a substitute teacher at the Rockville Centre public schools and her father was a dentist and amateur jazz musician. At age 14, Kass began taking drawing classes at The Art Students League in New York City which she funded with money she made babysitting. In the afternoons, she would go to theater on and off Broadway, often sneaking for the second act. During her high school years, she would take her time in the city to visit the Museum of Modern Art, where she would be exposed to the works of post-war artists like Frank Stella and Willem De Kooning. At age 17, Stella’s retrospective exhibition inspired Kass to become an artist as she observed and understood the logic in his progression of works and the motivation behind his creative decisions. Kass received her BFA in Painting at Carnegie Mellon University (the alma mater of artist Andy Warhol), and studied at the Whitney Museum Independent Study Program Here, she created her first work of appropriation, Ophelia’s Death After Delacroix, a six by eight foot rendition of a small sketch by the French Romantic artist, Eugène Delacroix. At the same time Neo-Expressionism was being helmed by white men in the late Reagan years, women were just beginning to create a stake in the game for critical works. “The Photo Girls...

Vintage Keith Haring Skateboard Deck featuring the artist's most recognized & iconic image, the Crawling Baby. This work originated circa 2013 as a result of the collaboration betwee...

Julian Schnabel Invierno Primaveral, 1995 Hand-painted, 17-color screenprint with poured resin 40 x 30 inches (102 x 76 cm) Edition of 80 signed in pencil and stamped on verso ...

Handsigned edition of 250. Gittleman’s Lunar Transformation is a series of ten vividly colored serigraphs created from black and white photographs taken during the Apollo 15 mission to the moon in 1971. Gittleman uses bright color to transform the craters and crevices of the lunar surface into vibrant abstractions which recall Abstract Expressionist painting. The strong graphic prints reflect the awe-inspiring nature of their source material. photographer, film maker, video producer, graphic designer, multimedia developer, clock maker and teacher. Guggenheim fellowship (graphics), Cannes Film festival, Academy Award Nomination. Work in permanent collections: MFA Boston, MOMA NY, Smithsonian Institution and Fogg Museum, Harvard. He exhibited with Gyorgi Kepes Solo shows: Lunar Transformations: 10 Serigraphs by Len Gittleman - Institute of Contemporary Arts, London Group shows: Integrated Vision: Science, Nature, and Abstraction in the Art of Len Gittleman and György Kepes - DeCordova Sculpture Park and Museum, Lincoln, MA Abstract Photography in the Permanent Collection - DeCordova Sculpture Park and Museum, Lincoln, MA Photography in Boston - 1955-1985 - DeCordova Sculpture Park and Museum, Lincoln, MA Some Photographic Use of Color: Fred Berman...

"Orange Row", Abstract Geometric Minimalist Composition w Ovals, Limited Edition Delicate and perfect ovals in orange, yellow, red, and blue are purposefully arranged on lined paper...

Judy Rifka (American, b. 1945) 44/84 Lithograph on paper titled "Thou Shalt Not Bear False Witness against Thy Neighbor"; Depicting an abstract composition in blue, green, red and black tones with Hebrew script. Judaica interest. (I have seen this print described as a screenprint and as a lithograph) Hand signed in pencil and dated alongside an embossed pictorial blindstamp of a closed hand with one raised index finger. Solo Press. From The Ten Commandments Kenny Scharf; Joseph Nechvatal; Gretchen Bender; April Gornik; Robert Kushner; Nancy Spero; Vito Acconci; Jane Dickson; Judy Rifka; Richard Bosman and Lisa Liebmann. Judy Rifka (born 1945) is an American woman artist active since the 1970s as a painter and video artist. She works heavily in New York City's Tribeca and Lower East Side and has associated with movements coming out of the area in the 1970s and 1980s such as Colab and the East Village, Manhattan art scene. A video artist, book artist and abstract painter, Rifka is a multi-faceted artist who has worked in a variety of media in addition to her painting and printmaking. She was born in 1945 in New York City and studied art at Hunter College, the New York Studio School and the Skowhegan School of Painting and Sculpture in Maine. Rifka took part in the 1980 Times Square Show, (Organized by Collaborative Projects, Inc. in 1980 at what was once a massage parlor, with now-famous participants such as Jenny Holzer, Nan Goldin, Keith Haring, Kenny Scharf, Jean-Michel Basquiat, and Kiki Smith, the roster of the exhibition reads like a who’s who of the art world), two Whitney Museum Biennials (1975, 1983), Documenta 7, Just Another Asshole (1981), curated by Carlo McCormick and received the cover of Art in America in 1984 for her series, "Architecture," which employed the three-dimensional stretchers that she adopted in exhibitions dating to 1982; in a 1985 review in the New York Times, Vivien Raynor noted Rifka's shift to large paintings of the female nude, which also employed the three-dimensional stretchers. In a 1985 episode of Miami Vice, Bianca Jagger played a character attacked in front of Rifka's three-dimensional nude still-life, "Bacchanaal", which was on display at the Museum of Art Fort Lauderdale. Rene Ricard wrote about Rifka in his influential December 1987 Art Forum article about the iconic identity of artists from Van Gogh to Jean-Michel Basquiat and Keith Haring, The Radiant Child.The untitled acrylic painting on plywood, in the collection of the Honolulu Museum of Art, demonstrates the artist's use of plywood as a substrate for painting. Artist and writer Mark Bloch called her work "imaginative surfaces that support experimental laboratories for interferences in sensuous pigment." According to artist and curator Greg de la Haba, Judy Rifka's irregular polygons on plywood "are among the most important paintings of the decade". In 2013, Rifka's daily posts on Facebook garnered a large social media audience for her imaginative "selfies," erudite friendly comments, and widely attended solo and group exhibitions, Judy Rifka's pop art figuration is noted for its nervous line and frenetic pace. In the January 1998 issue of Art in America, Vincent Carducci echoed Masheck, “Rifka reworks the neo-classical and the pop, setting all sources in quotation for today’s art-world cognoscenti.” Rifka, along with artists like David Wojnarowicz, helped to take Pop sensibility into a milieu that incorporated politics and high art into Postmodernism; Robert Pincus-Witten stated in his 1988 essay, Corinthian Crackerjacks & Passing Go that "Rifka’s commitment to process and discovery, doctrine with Abstract Expressionist practice, is of paramount concern though there is nothing dogmatic or pious about Rifka’s use of method. Playful rapidity and delight in discovery is everywhere evident in her painting." In 2016, a large retrospective of Rifka's art was shown at the Jean-Paul Najar Foundation in Dubai. In 2017, Gregory de la Haba presented a Rifka retrospective at the Amstel Gallery in The Yard, a section of Manhattan described as "a labyrinth of small cubicles, conference rooms and small office spaces that are rented out to young entrepreneurs, professionals and hipsters". In 2019 her video Bubble Dancers New Space Ritual was selected for the International Istanbul Bienali. Alexandra Goldman Talks To Judy Rifka About Ionic Ironic: Mythos from the '80s at CORE:Club and the Inexistence of "Feminist Art" Whitehot Magazine of Contemporary Art. She was included in "50 Contemporary Women Artists", a book comprising a refined selection of current and impactful artists. The foreword is by Elizabeth Sackler of the Brooklyn Museum’s Sackler Center for Feminist Art. Additional names in the book include sculptor and carver Barbara Segal...

Silkscreen screenprint or Lithograph Hand signed and numbered. An esoteric, mystical, Kabbala inspired print with Hebrew as well as other languages. Joseph Charles Tilson RA (born 2...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

Artist: Kenny Scharf Title: Sajippe Kraka Joujesh Medium: Silkscreen Signed: Hand Signed Measurements: 39" x 46" Edition Number: 26/150 PRINTER: Fine Art Printing Ltd, NYC PUBLIS...