Sandi Neiman Abstract Paintings

This is an exclusive handmade mixed media cyanotype with hand-painted acrylic paint in pastel tones. Details: Title: Lilac Leaf on Water Medium: Mixed Media on Watercolor Paper Size: 100x70 cm Year: 2020 *Frame is for illustrative purposes only, artwork is shipped carefully rolled in a tube. WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) is a 10 x 10-inch abstract painting on paper mounted on board. The artist works with natural earth,...

The Consequence of Small Decisions Solo Exhibit by Cassandra Ott This dynamic mixed media work was created as part of the artist's series "The Consequence of Small Decisions". ...

The picture belongs to the cycle RECYCLED, done during the pandemic Covid. The material is a heavy wooden frame, used Nespresso capsules and 19th Century newspaper sheet. Will be sig...

Bow-Wow, Walking the dog by a.muse is a mixed-media painting on taking a dog for a walk on the streets of New York, leading to imaginary adventures in the urban landscape. Bow-Wow, ...

This depicts civil rights icon MLK, the Statue of Liberty, Iwo Jima, an assemblage of mixed media photographic images and painted collaged elements. A powerful, moving work, an ode to the black civil rights movement. John M. Mitchell is originally from North Carolina, and as an art student at North Carolina Central University, he was involved with the Civil Rights movement including participating and getting arrested at a sit-in protest in Durham in 1963. After graduating, he was one of the first art teachers to take a position at the newly integrated schools in his home state. Mitchell continued his education in the 1990s and earned an MFA in painting from the Savannah College of Art and Design in 1993. He later served as a professor there from 1998-2006. Of his inspiration to create, Mitchell says: "A lot of my work is based on my experiences during the Civil Rights movement," he says. "I see art making as a 'record' of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus and narrative of my work." Savannah-based artist John Mitchell believes that a home is more than a simple edifice. Rather, he argues that the sociological, psychological, architectural, and historical associations embedded in the structure “tell us about our culture, our lives. It tells us about where we come from.” Mitchell's signature shotgun house constructions, crafted from found materials and scraps of newspaper headlines, reference his childhood in North Carolina, where such modest architectural structures were once commonplace. In "ALA 1963," he uses the shotgun shape to create a heartfelt memorial to a group of African-American girls killed in a racially motivated church bombing in Alabama nearly 50 years ago. He also incorporates the shotgun symbol in "Victims," a powerful reflection upon crime in Savannah in the early 1990s, which reveals how little has changed over the past two decades. Mitchell's mixed media constructions operate, in many ways, like memory itself. Scraps, fragments and pieces loosely cohere around a central idea, making symbolic and metaphorical connections. In these richly narrative and boldly stream-of-conscious assemblages, the whole truly is greater than the sum of its parts. Mitchell's jazz collages - carefully crafted from scraps of newspaper, sheet music, magazines and tissue paper - celebrate key players in Savannah's jazz scene, from sultry female vocalists to wiry male saxophone players. A tribute to the late jazz bassist Ben Tucker, a true Savannah legend, is especially moving, incorporating a pencil sketch of the standing bass player as well as newspaper clippings of other Savannah jazz musicians. Mitchell grew up in a shotgun house in North Carolina, a style of vernacular architecture that is particularly prevalent in the South. Mitchell fills his sculptural homes with objects of metaphorical and symbolic, iconic, importance. In Home Sweet Home he includes the American flag, a photograph of Martin Luther King Jr. and Malcolm X, and a china plate depicting The Last Supper, among other items that convey a personal and historical narrative. He notes that making art acts “as a ‘record’ of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus, and narrative of my work.” While this contains elements reminiscent of folk art and outsider art this is a quite sophisticated tour de force. He was included in the show Complex Uncertainties, Telfair Museum: Modern and contemporary art comprise painting, prints, drawing, photograph, sculpture, and works in new media, representing American artistic achievement from 1945 to the present day. The exhibition includes works by artists such as Bruce Davidson, Elaine de Kooning, Carrie Mae Weems, Sam Gilliam, Ethel Schwabacher, Radcliffe Bailey...

Composition in Red - Framed. French American Frédéric Choisel is inspired by the cities of France, New York and the Bay Area and creates elegant abstractions that tell a story of urb...

Orazio De Gennaro's Terra Bruciata (Scorched Earth) is an 11 x 13-inch abstract painting on paper mounted on a board. Unframed. The artist works with n...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Gregg Robinson, American (born 1948) "Cipher Bar 20" Oil on Canvasboard Panel. Artist signed, title and dated 1990 far right. Very minor rubbing to paint. Panel measures 15-1/4" H x 63-1/2" W, frame measures 24-1/4" H x 72-1/4" GREGG ROBINSON The universe of visual art encompasses a huge spectrum of motivation and means of expression. Examples range from the most syrupy sentimentality to extremes of moral and intellectual confrontation. For me, the creative process is, on the simplest level, an aesthetic puzzle. Elements of the puzzle include contrast, color, visual texture, graphic pattern, and in some recent work, a simple cryptic symbolism. I have never been particularly interested in lyric or pictorial content, and though some of my work does contain undeniable spatial illusion, even that tends to be a by-product rather than a goal of the primary pursuit: the balance of light and dark, pure color and organic neutrals, energy and calm, strong pattern and subtle field. Having grown up in an environment of contemporary architecture, I have always valued the classic modern synthesis of form and function exemplified by the Bauhaus movement of the early 20th century. Hence, the simplest solutions are often the most satisfying. Obviously, the modernist ideal of efficiency in form and function requires that method of execution be as well adapted to the aesthetic goal as the visual language itself. The media before you is the result of many years of experimentation that came to its current form in early 1992. I work with dry pigment over a plaster surface. My tools are broad knives, sponges, rags and masking. The finish is a high gloss alkyd resin. CORPORATE COLLECTIONS: Allstate Insurance NBC Productions Alaska...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) is a 10 x 10-inch abstract painting on paper mounted on board. Unframed. The artist works with n...

"Sand Castle" is a framed mixed media work on canvas by Maura Segal, with abstract shapes and color blocking. The artist cuts hundreds of paper shapes and adheres them to the canvas ...