Lions Gallery Mixed Media

Dimensions: 12.5 X 5.25 X 5.25 in The organic shaped vase showcases an applied light gold colored threaded design enveloping the clear body, around. Hand signed Constantini S. It came from an important...

Wall hanging, Framed 16 X 20. Enamel measures 16 X 12 Dominic Mingolla (1922 – 1999) Mingolla created paintings in many different materials and genres. Best known for his large abstract expressionist watercolor paintings similar in style to Paul Jenkins and for his Enamel work. His work bears affinities both to Lyrical Abstraction and to Tachisme artists such as Nicolas de Staël, Serge Poliakoff, Andre Lanskoy, Hans Hartung, Jean-Paul Riopelle, Gustave Singier, Alfred Manessier, Roger Bissiere, "Lyrical Abstraction arose in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. At the same time, these artists sought to reinstate the primacy of line and color as formal elements in works composed according to aesthetic principles – rather than as the visual representation of sociopolitical realities or philosophical theories." "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Artists associated with Lyrical Abstraction include: Natvar Bhavsar, Lamar Briggs, Friedel Dzubas, Sam Francis, Ronnie Landfield, Pat Lipsky...

Embossed print after Braque, based on his sculpture by the same name. Embossed in the print paper is "'Cephale', Hommage aux bijoux de braque, or fin 23 carat, sculpt heger de Lowen...

Label from Obelisk Gallery verso. Henry C. Pearson (October 8, 1914 – December 3, 2006) was an American abstract and modernist painter. Pearson was born in Kinston, North Carolina, graduated from the University of North Carolina in 1938, and studied theatrical design at Yale University. He served in the U.S. Army Air Corps in the Second World War, designing maps for the Okinawa campaign, and then re-enlisted to serve in the US occupation of Japan, where he was influenced by Japanese art and theatre forms. Henry Pearson is perhaps best known for a mildly optical manner of painting, featuring a mutable labyrinth of undulating parallel lines, which somewhat inadvertently linked him to the Op Art movement of the 1960s. Although included in the Museum of Modern Art's landmark exhibition The Responsive Eye in 1965, his work displays an intuitive rhythm and poetic elegance that falls well outside of the calculated, often hard-edged quality normally associated with the Op group of artists. Pearson came late to the visual arts. His first career, in theatre design, was cut short by the Second World War. He entered the U.S. Army in 1942, and at war's end requested duty in occupied Japan, where a prolonged contact with Japanese culture nurtured a passion for painting. Upon his discharge from the army, in 1953, he enrolled in the Art Students League in New York City, where he studied with, among others, Reginald Marsh and Will Barnet. Inspired by Malevich, he turned to rectilinear abstraction, and employed it as the dominant means of expression in his painting between 1954 and 1961. As early as 1959, however, sensing an incipient decadence in his geometric canvases...

Where the Road Crashes into the Sea, 2008 Aluminum, rivets, glass, acrylic paint, fabric Dimensions: 55 1/2 x 55" Mixed Media Sculptural Wall Hanging Art. This painting was made after visiting the location of the fatal Jackson Pollock car crash and includes a silkscreen photograph of the scene. The letters are formed from cut up old license plates. Ryan Humphrey (born 1971) is an American artist who currently lives and works in New York City. Education: BFA, Ohio University, MFA, Hunter College, New York 1999; Skowhegan School of Painting and Sculpture, Maine, 2001; Whitney Museum of American Art Independent Study Program, NY, 2005-2006 Ryan Humphrey grew up in a small town in Ohio building things in his yard, riding BMX bikes and skateboarding. He then moved to Pittsburgh, Pennsylvania for the next three years to work at The Carnegie Museum of Art and obtain a commercial art degree where he developed an interest in contemporary fine art. This inspired him (along with a scholarship) to attend Ohio University where he earned his BFA in Sculpture. After moving to New York City he received his MFA from Hunter College, paying his way through school by working at The Dia Center for the Arts. After attending The Skowhegan summer residency program in Maine he worked for The Andy Warhol Foundation and participated in the Whitney Museum Independent Study Program. He has exhibited extensively. He currently lives and works in New York City. His work has been featured in the traveling exhibition Will Boys Be Boys? Questioning Adolescent Masculinity in Contemporary Art :Photograph, video, painting and sculpture curated by Shamim Momin of the Whitney Museum of American Art. (it included Slater Bradley, Larry Clark, Lilah Freedland, Tim Gardner, Luis Gispert, Anthony Goicolea, Janine Gordon, Ryan Humphrey, Nikki S. Lee, Julia Loktev, Maria Marshall, Ryan McGinness, Chloe Piene, Jeff Reed, Tom Sachs, Dean Sameshima, Collier Schorr, Type A (Adam Ames and Andrew Bordwin Humphrey's most recent solo exhibition, All of Nothing, was at DCKT Contemporary. Humphrey was also a contestant in Season I of Top Design, Bravo's reality show. Recently, Humphrey was included in the Queens International 4 exhibition at the Queens Museum of Art. His large-scale installation, titled Fast Forward (2009), included BMX ramps adjacent to a wall-to-ceiling assemblage tapestry, collection of trophies and customized BMX bikes, and he continued this theme in his installation Look for the dream that keeps coming back (2010) at Kunsthalle Galapagos. Humphrey expresses his growing up in BMX and skateboard culture through his art. The assemblage also included several paintings, created by the artist for the exhibition, and several sculptures of BMX bike wheels. The paintings were small drips that recall the works of Jackson Pollock, and the BMX sculptures are similar to Marcel Duchamp's Bicycle Wheel. The installation included an opening night performance by legendary BMX pro Dizz Hicks and Ryan Humphrey on the ramps. An edition of 20 silkscreen posters was made by the artist, and signed by himself and Dizz Hicks, to commemorate the event. He was included in the show 5 X 5 at the Whitney Museum of American Art at Philip Morris. Reed Anderson, Rina Banerjee, Susan Graham, Ryan Humphrey and Larry Krone -- each created a work inspired by one (post-1985) from the museum's own collection. Christopher Wool, Donald Lipski...

Alejandra Icaza Born in Bilbao, Spain in 1966. Lives and works in Madrid. Icaza studied at Saint Martins College in London (1985) and at The New York Studio School of Drawing, Painting and Sculpture in...

Genre: Modern Subject: Abstract Medium: Mixed Media Surface: Board Dimensions: 15 1/2" x 19 1/2" Reminiscent of the Art Brut work of french master Jean Dubuffet this Boy with balls is a wonderful mixed media piece with stypol, copper resin, concrete all in a great colorful composition. Alexander Raymond Katz, Hungarian / American (1895 – 1974) Alexander Raymond Katz was born in Kassa, Hungary, and came to the United States in 1909. He studied at the Art Institute of Chicago and the Chicago Academy of Fine Arts. In the late 1920s, he worked as a director of the Poster Department at Paramount Studios. He was appointed the Director of Posters for the Chicago Civic Opera in 1930. During the Great Depression, notable architect Frank Lloyd Wright urged Katz to become a muralist. In 1933, he was commissioned to paint a mural for the Century of Progress exposition in Chicago. In 1936, he painted the mural History of the Immigrant for the Madison, Ill., post office. Katz’s works were included in various exhibitions and now are part of several museum collections, including those of the Art Institute of Chicago; Corcoran Gallery of Art, Washington, D.C.; and the Jewish Museum, New York. His murals, bas-reliefs and stained glass designs adorn more than 200 Jewish synagogues...

EMANUEL SCHARY Israel, b. 1924, d. 1994 A lively affection for humanity characterizes the work of the Israeli-American artist Emanuel Schary (1924-1994). Working in a range of media,...

Genre: Contemporary Subject: Nature Medium: Ink, Sandblasted Glass, Surface: Paper Country: United States Dimensions: 20" x 20" Dimensions w/Frame: 21" x 21" x 2" KEN APTEKAR (b.19...

Judith Yellin is one of the most prominent artists working in Israel today. She was born in Jerusalem and is a fifth generation Israeli. Among those who have collected Judith Yellin's works are Mary...

Genre: Contemporary Subject: Abstract Medium: Mixed Media, Collage Surface: Paper Country: Spain Dimensions: 14" x 11" Dimensions w/Frame: 15" x 12" Alejandra Icaza Born in Bilbao, Spain in 1966. Lives and works in Madrid. Icaza studied at Saint Martins College in London (1985) and at The New York Studio School of Drawing, Painting and Sculpture in New York...

Genre: Contemporary Subject: Abstract Medium: Mixed Media, Collage Surface: Paper Country: Spain Dimensions: 14" x 11" Dimensions w/Frame: 15" x 12" Alejandra Icaza Born in Bilbao, Spain in 1966. Lives and works in Madrid. Icaza studied at Saint Martins College in London (1985) and at The New York Studio School of Drawing, Painting and Sculpture in New York (1989). She is the recipient of the painting award of Fundación Barceló, Palma de Mallorca. The artist works with repetition of form, color, and shapes. Trees, animals, abstract patterning, floating elements, portraits, bubbles, and plants are elements of her work, in which different planes collide. Alejandra Icaza has had several gallery and museum exhibitions, including at the Blum & Poe and at the Danziger Projects. Education 1989 The New York Studio School of Drawing, Painting and Sculpture, New York 1988 Maryland Institute College of Art, Maryland 1987 Massana School, Barcelona, Spain 1986 Fellowship with Federic Amat and Andres Nagel, Spain 1985 St. Martin´s School of Art Master degree, London 1984 Camden Centre of Art Bachelor degree, London Solo Exhibitions 2009 Fortes Vilaça Gallery , São Paulo, Brasil Pelaires gallery, Palma de Mallorca, Spain Ana Serratosa Gallery, Valencia, Spain 2007 Seaweed and Octopus, Edward Tyler Nahem Fine Art, New York 2006 Fortes Vilaça Gallery , São Paulo, Brasil Pillar Parra & Romero Gallery Madrid, Spain 2004 Domus Artium Salamanca, Contemporary Art Center, Salamanca, Spain 2003 Eclipse, Pedro Cera Gallery, Lisbon, Portugal 2002 Fortes Vilaça Gallery, São Paulo, Brasil Marta Cervera Gallery...

Genre: Israeli Subject: Animals Medium: Mixed Media, Collage Country: Israel Dimensions: 8.5 x 5.5 Dimensions w/Frame: 15 x 12 Judith Yellin is one of the most prominent artists working in Israel today. She was born in Jerusalem and is a fifth generation Israeli. Teacher of arts and crafts in teachers colleges, Senior lecturer in the School of occupational therapy and the David Yellin Teacher's College, Jerusalem. 1941-43 Graduate of Bezalel Academy of Art, Jerusalem. Studied under Mordechai Ardon and Isidor Aschheim 1946-49 Graduate of the Central School of Arts and Crafts London. Studied under R.R.Tomlinson, W. Johnstone, J. Minton. 1966 Member of the Israel Painters and Sculptors Association. 1971 Studied etching under Stanley William Hayter, Atelier 17, Paris. 1965-75 Collages chosen for UNICEF greeting cards. 1970-96 World-wide distribution of series of art-posters, lithographs and serigraphs, reproduced in Israel from collages . Exhibitons 1954 "Ben-Uri" Gallery, London 1955 "Nora" Gallery, Jerusalem 1960 "Atelier 97", Tel-Aviv 1961 The Artists House, Jerusalem 1965 "Katz" Gallery, Tel-Aviv 1965 "Ezry" Gallery, Jerusalem 1969 The Artists House, Jerusalem 1971 "Stern" Gallery, Paris 1974 The Artists House, Jerusalem 1975 "Ben-Uri" Gallery, London 1975 "Old Jaffa...

Genre: Other Subject: Figures Medium: Fabric, textile collage Surface: Board Dimensions: 9 1/2 x 8 1/2 x Dimensions w/Frame: 16 1/2 x 15 Ella Raayoni was born in Vienna, Austria and came to Israel when she was eight years old. Aside from her exhibits in Israel, she exhibited in the Paris Salon of 1958 and was awarded first by the Women's International Artists. In the same year, she also had a show in London. She also exhibited in Switzerland, Italy, and the United States. she died in 1993. Ella Ra'ayoni, born 1915, Vienna, Austria. Died 1993...

Genre: Latin American Subject: Abstract Medium: Mixed Media, Collage Country: Mexico Dimensions w/Frame: 16.75 x 16.5 Feliciano Béjar Ruíz (1920 – February 1, 2007) was a Mexican artist and artisan, best known for a style of sculpture called “magiscopios” which involved various materials along with crystals and/or lenses to play with light or create distorted visions. He was born in rural central Mexico and was completely self-taught as an artist. He was creative as a young child, drawing and creating his first sculpture like pieces from papier-mâché. His art career began in New York, where he had travelled and lived for a time in Hell’s Kitchen. His drawing the attention of Arthur Ewart and Frances Coleman, with the latter helping him have his first exhibition and whose husband helped sponsor his time in Europe. In his later life, Béjar withdrew from the art world for about sixteen years, disillusioned with it and retreating to his ranch in the State of Mexico. He returned in 1998, with a retrospective of his work in Mexico City and continued to show his work until shortly before his death. He worked as an assistant to a carpenter, sweeping out the shop in exchange for wood scraps. He used these to create toys and even large imaginary cities. When he was fifteen, he began to teach himself art using various scrap materials. At this time muralist José Clemente Orozco was in his town to paint scenes of the Mexican Revolution on the town library. Bejar brought him some drawings to show, he did not want to see them. Later in life he stated that he did not think well of the muralists and considered them false and frauds. He said that their work was supposedly for the people but they could not be understood without interpretation and the main ones (Rivera, Siqueiros and Orozco) shut out other artists. When he got to New York in the 1940s, he was disappointed and thought it ugly. He wanted to return but had no money so he had to work menial jobs and live in Hell’s Kitchen. During this time in New York, he was put in touch with English painter Arthur Ewart who encouraged him to get back to art, particularly painting. He also met socialite Frances Colman, while copying paintings...

Genre: Surrealism Subject: Abstract Medium: Mixed Media Surface: Board Country: France Dimensions w/Frame: 26" x 21 3/4 Signed and signed with thumbprint Born ca.1949 in Slovenia, (then Austria later Yugoslavia) autodidact; Communist Political prisoner; Escapes to Italy; 1980, is established in France; 1991, enters Guinness for a sale at 150 million francs, record for a living artist. He geometrizes in the strictest way the figuration by declining all the blues of his palette, with their gradations. Perspectives lurk around minimalism, Towards the discovery of America...

LISA KOKIN Mineola, New York, b. 1954 Lisa Kokin creates her art with recycled and reclaimed materials she has found at flea markets, thrift stores, and recycling centers. In the pas...

Dimensions w/Frame: 10" x 7 1/2" x 1 1/2" A George F. Welch Abstract Copper Enamel Wall Art Plaque Inscribed signature on the lower right of the plaqu...

In this art work the artist portrays Moses holding the Ten Commandments by overlaying sheets of metal on top of each other. The composition is flat, and the figure shows cartoon-like...

A silkscreen mixed-media work that exhibits the word "Forefathers" in Hebrew across the bottom of the piece.

Sculptor; Collage Artist Born New York, NY December 14, 1920. Holdings : AFL-CIO Headquarters in Washington, DC; Community Blood Council in New York; Omaha National Bank; Slater Memorial Museum. Commissions : Paintings for Atlantic Richfield Corporation in New York; Technicon Corporation in Ardsley, NY; Police Benevolent Association in New York. Exhibits : Gallery Carron in New York 1979; Lever House...

Rare Vintage Judaica , extraordinary mosaic with sgraffito decorated ceramic tiles and Hebrew calligraphy by important ceramicist and mosaic artist ...

Richard Smith, British (1931-2016) Untitled (Abstract Composition) (1976) Gouache, crayon, charcoal and metal staples on Arches paper Hand signed lower center sheet: 22 x 22 inches ...

Karl Zerbe (1903-1972) A mixed-media Painting collage of mod neon colored leaves on canvas with parchment backing. Hand signed "Zerbe" bottom left and dated bottom right 1965-65. Dimensions: Collage: 36 in tall x 24 in wide. Frame: 40 in tall x 28 in wide. Karl Zerbe (1903 – 1972) was a German-born American realist painter and educator. Karl Zerbe was born on September 16, 1903 in Berlin, Germany. The family lived in Paris, France from 1904–1914, where his father was an executive in an electrical supply concern. In 1914 they moved to Frankfurt, Germany where they lived until 1920. Karl Zerbe studied chemistry in 1920 at the Technische Hochschule in Friedberg, Germany. From 1921 until 1923 he lived in Munich, where he studied painting at the Debschitz School, mainly under Josef Eberz. From 1924 until 1926 Karl Zerbe worked and traveled in Italy on a fellowship from the City of Munich. In 1932 his oil painting titled, ‘’Herbstgarten’’ (autumnal garden), of 1929, was acquired by the National-Gallery, Berlin; in 1937, the painting was destroyed by the Nazis as "Degenerate art." Entartete Kunst was what they deemed all the Avant Garde, Modernism Movements. In the visual arts, sucf innovations as Expressionism, Fauvism, Cubism, Dada, Bauhaus, Post Impressionism were disdained. Artists such as Käthe Kollwitz, Otto Dix, George Grosz, Max Beckmann, Max Ernst, Oskar Kokoschka, El Lissitzky, Franz and Marc Chagall were among those who despite having made significant contributions to the German modernist movement were banned even if they were not necessarily Jewish. From 1937 until 1955, Karl Zerbe was the head of the Department of Painting, School of the Museum of Fine Arts, Boston. In 1939 Karl Zerbe became a U.S. citizen and the same year for the first time he used encaustic. He joined the faculty in the Department of Art and Art History at Florida State University in 1955, where he taught until his death. He was grouped together with the Boston artists Kahlil Gibran (bronze sculpture), Jack Levine and Hyman Bloom as a key member of the Boston Expressionist school of painting, and through his teaching influenced a generation of painters,[including, among others, David Aronson, Bernard Chaet, Reed Kay, Arthur Polonsky, Jack Kramer, Barbara Swan, Andrew Kooistra, and Lois Tarlow. Select solo exhibitions 1922: Gurlitt Gallery, Berlin, Germany 1926: Georg Caspari Gallery, Munich, Germany; Kunsthalle, Bremen, Germany; Osthaus Museum, Hagen, Germany 1934: Germanic Museum (now Busch-Reisinger Museum), Harvard University, Cambridge, Massachusetts 1934, 1935, 1936, 1937: Marie Sterner Galleries, New York City 1936, 1938, 1939, 1940: Grace Horne Galleries, Boston, Massachusetts 1941: Vose Galleries, Boston; Buchholz Gallery, New York City 1943: Mount Holyoke College, South Hadley, Massachusetts 1943, 1946, 1948, 1951, 1952: The Downtown Gallery, New York City 1943, 1947: Berkshire Museum, Pittsfield, Massachusetts 1945, 1946: Art Institute of Chicago, Illinois 1946: Detroit Institute of Arts, Detroit, Michigan 1948, 1949: Philadelphia Art Alliance, Pennsylvania 1948, 1955: Boris Mirski Gallery, Boston, Massachusetts 1950: Munson-Williams-Proctor Arts Institute, Utica, New York 1951-1952: Retrospective Exhibition circulated by the Institute of Contemporary Art, Boston, traveled to: Baltimore Museum of Art; Colorado Springs Fine Arts Center; Currier Gallery of Art, Manchester, New Hampshire; Florida Gulf Coast Art...

ELAINE LUSTIG COHEN (b. 1927) is an artist, dealer, and designer. She founded the gallery Ex Libris with her husband, publisher and author Arthur Cohen. Cohen’s recent work concentrates on collage using found photographs and ephemera. Elaine Lustig Cohen is the pioneering female graphic designer who incorporated the aesthetic vocabulary of European modernism into American graphic design, during the 1950s and 1960s. After training as a painter, she developed her design skills working with Alvin Lustig (whom she married in 1948). Following Lustig's premature death in 1955, she took control of the studio and between 1955 and 1961 produced a distinctive series of covers for publishing houses Meridan Books and New Directions. With their strong concepts, abstract forms and typographic invention, they represented a break from the prevailing tradition of pictorial illustration in book-jacket design. Her ability to summarize the content of text in the cover design was further aided when, working for architects including Eero Saarinen and Philip Johnson she produced signage schemes intended to express a building's character. She designed many posters and catalogues for New York-based arts organizations, including the American Center for the Arts, the Lincoln Center, the Whitney Museum of American Art and the Jewish Museum. She married Arthur A. Cohen, publisher of Meridian Books; in 1973, they established Ex Libris, New York, a bookshop and gallery specializing in rare volumes of the European avant-garde. In 1995 her contribution to graphic design was acknowledge by an exhibition at the Cooper Hewitt, National Design Museum, New York." (Livingston, 2003, 51). She continues to paint and create dynamic graphic collage-based work and is represented by Julie Saul Gallery, New York. Elaine Lustig Cohen donated her collection to RIT in 2008. Lustig Cohen, the subject of a joint retrospective in 2007 at Julie Saul Gallery and Pavel Zoubok Gallery, has exhibited widely since the 1970s. Her work is found in the collections of the Whitney Museum, Los Angeles County Museum of Art, and Boston Museum of Fine Arts, among many others. A retrospective of her graphic designs was held at the Cooper-Hewitt in 1995. Ex Libris, which she ran together with her husband Arthur Cohen, was highly regarded for its exhibitions of 20th century avant garde books and ephemera...

American artist and composer, a pioneer in abstract Judaica; was influenced by his Sephardic roots and leaves a great collection of work in private collections worldwide. He died in ...

This Contemporary female artist overlays stenciled figures using vibrant colors. Some of the figures are rendered with detail while others are left in abstraction. Mil Lubroth (1926-2004) was an American born artist who until her passing lived and worked in Madrid, Spain. Her colorful, semi-abstract paintings, which often combined Jewish, Arab and Christian symbolism, were described as “light and music, subtlety and suggestion, full of energy and joy” by Catherine Coleman, curator at the Reina Sofia Museum. Her annual open studio, held every November, was an important celebration of the Spanish art scene. A Fulbright scholar born Millie Schleifer, Mil Lubroth was influenced by the whimsical work of Paul Klee as well as by Robert Rauschenberg and Cy Twombly. She lived in Paris and then moved with her husband to Madrid where she raised her four children. The richly layered culture of Spain inspired her to weave together Jewish, Islamic and Western influences in her decorative and often mysterious work. She was the first North American Woman to exhibit at Madrid’s Cultural Center and her work also showed in Seville, Granada, Barcelona and New York. Education La Guardia High School of Art and Music, New York B.A., Southern Cal M.A. Kansas State Advanced Studies under Willem De Kooning and Josef Albers at Black Mountain College, North Carolina Collections Smithsonian, UNESCO New York. The White House, Washington DC. Museo de Arte Contemporáneo, Madrid y Castellón. Museo of Skopje. Macedonia. Yugoslavia. Johnson & Johnson, Madrid. Baker and McKenzie. Banco de España. Madrid. Radio RVE, Sydney, Australia. Comisión del Deporte en Bellas Artes. Madrid. Virginia Center for the Creative Arts. Corporate Art Collection Juffali Brothers, Jedda, Arabia Saudí Arab banking Corporation, New York. Hebrew Union College...

Jerusalem City of Gold, three panel triptych, pencil signed 186/190, brushed bronze framing. The City of Religion Beautifully captured in this m...

Signed Screen Print and Acrylic on Canvas. Christopher Makos, American photographer and artist, apprenticed with photographer Man Ray in Paris and collaborated with Andy Warhol, whom he showed how to use his first camera. He introduced Warhol to the work of both Jean-Michel Basquiat and Keith Haring. Makos' work has been in the permanent collections of more than 100 museums and major private collections, including those of Malcolm Forbes, Pedro Almodóvar, and Gianni Versace. His photographs of Warhol, Haring, Tennessee Williams and others have been auctioned regularly at Sotheby's. Warhol called Makos the "most modern photographer in America". Chris Makos...

Filipino Fire by Frog King Kwok (Hong Kong, born 1947) Arguably the most prolific performance artist in Hong Kong, Frog King Kwok (Kwok Mang Ho) in his ubiquitous artistic persona ‘Frog King’, blurs the boundary between everyday life and art, a practice of a perpetual nature, which the artist describes as ‘no beginning and no ending’. The advent of the information age made Kwok realize that a massive amount of photographs and news coverage of his performances as well as his early site-specific, process-based installations have been accumulating and circulating on the Internet. The information and images exist in a way that defies chronology; photographs from The Plastic Bag Project (1978) are as prominent on Google as a picture taken the month before at a gallery opening. It is fascinating for an artist who is approaching seventy to witness almost five decades of his artistic career collapsing into a single plane. The new installation titled Time, created at Connecting Space for Mobile M+: Live Art...

Encaustic and Digital Print on Plywood American artist, Richard Purdy, born in Chicago, IL, 1956 Received his B.F.A. Indiana University of Pennsylvania Indiana, PA Exhibitions 2013–2014 Winter Blues, Nancy Hoffman...

Encaustic and Laminated Paper on Plywood American artist, Richard Purdy, born in Chicago, IL, 1956 Received his B.F.A. Indiana University of Pennsylvania Indiana, PA Exhibitions 2013–2014 Winter Blues, Nancy Hoffman...

Encaustic and Digital Print on Plywood American artist, Richard Purdy, born in Chicago, IL, 1956 Received his B.F.A. Indiana University of Pennsylvania Indiana, PA Exhibitions 2013–2014 Winter Blues, Nancy Hoffman...

Encaustic and Digital Print on Plywood American artist, Richard Purdy, born in Chicago, IL, 1956 Received his B.F.A. Indiana University of Pennsylvania Indiana, PA Exhibitions 2013–2014 Winter Blues, Nancy Hoffman...

Encaustic and Digital Print on Plywood American artist, Richard Purdy, born in Chicago, IL, 1956. Received his B.F.A. Indiana University of Pennsylvania Indiana, PA Exhibitions 2013–2014 Winter Blues, Nancy Hoffman...

Aharon Gluska (b. 1951) Pigment and oil paint, mixed media painting on archival paper. Dimensions (H, W, D): 22.5"h, 13"w image; 32"H, 24"w frame Provenance: Siegel Collection, Florida. The Siegels' collection was acquired under the guidance of Lawrence Salander of Salander-O'Reilly Gallery in New York in the late 1980s. Aharon Gluska (born 1951) is an Israeli–American painter. Gluska was born in 1951 in Hadera, Israel. He studied at the Académie des Beaux-Arts in Paris and Avni Institute of Fine Arts in Tel Aviv. Grants Gluska received grants from the National Endowment for the Arts and the Jackson Pollock- Lee Krasner Foundation. Awards Gluska was one of two winners along with Moshe Kupferman, of the 1996 Zussman Prize for artists dealing with the Holocaust, from the Yad Vashem museum, for his paintings of prisoners at Auschwitz based on photographs of them taken by their Nazi guards. Exhibitions: Bertha Urdang Gallery, NY, USA 1983 Aharon Gluska: Painting and Drawings 1985-1986 Bertha Urdang Gallery, NY, USA 1986 Group Exhibitions The Disciplined Spirit, Exit Art, New York, USA Artists: Nahum Tevet, Micha Ullman, Aaron Gluska, Jacob El Hanani, Moshe Kupferman, Gilad Ophir, Joshua Neustein, Bertha Urdang Gallery, NY, USA Artists: Larry Abramson, Yosef Zaritsky, Zelig Segal...

Ivan Chermayeff (1932-2017): Butterfly Mouth Mixed media collage, 2002, hand signed 'Ivan Chermayeff' and dated lower right, titled lower left. Bears label from David Findlay Jr. Gallery, NY. 22 1/2 x 15 in. (sheet), 25 3/4 x 18 1/4 in. (frame). Provenance: The estate of the artist. Ivan Chermayeff born London, United Kingdom, 1932 Chermayeff was one of the greatest American graphic designers, the son of the Russian born, British architect Serge Chermayeff. Ivan Chermayeff Graduated from the Phillips Academy of Andover, Massachusetts in 1950. He studied at Harvard until 1952, and the Institute of Design (New Bauhaus) until 1954. Graduated from the Yale School of Arts and Architecture in 1955 with a Bachelor of Fine Arts. The same year he did a short apprenticeship with Alvin Lustig—a pioneer of American graphic design—and then moved on to CBS as Assistant Art Director in record cover design. In 1956 he co-founded Brownjohn, Chermayeff & Geismar Associate, with Robert Brownjohn and his former schoolmate Tom Geismar. In 1959 Brownjohn left and the studio changed to Chermayeff & Geismar Inc. It soon became one of the best-known design firms worldwide. The firm produced over six-hundred marks, and they were among the very first to develop an abstract trademark (Chase Bank, 1960), still in use today. In 1964 they designed the outstanding corporate identity of Mobil Oil, that is one of the most recognizable identities ever. From its foundation, the studio served major companies including Giorgio Armani, Barneys, Hearst, MoMA (Museum of Modern Art), National Geographic, NBC (National Broadcasting Company), PBS (Public Broadcasting Service), Rockefeller, and others. Recently, Serge Haviv joined as a new partner and the firm changed to Chermayeff & Geismar & Haviv. Besides his design profession, Chermayeff is a talented illustrator artist and collagist. Many graphic pieces he made show a perfect balance of rational logics with imagination, featuring both abstract geometric shapes and figurative images. His collage works require a same sense of witty assemblage, where gathered information, like scraps of paper, stamps, and Polaroid photograph pictures combine as fragmented clues to a greater message. The Surrealist collages often take the shape of people, whose facial features are born of scraps and daily ephemera. They are amusing and infinitely thought-provoking; as Chermayeff has said, “Collages make it possible for everything to be something else.” Board overseers at Parsons School of Design and trustee at New School University from 1988 to 2002. Visiting professor at Cooper Union, University of California, and Kansas City Art Institute. He started making collages at the age of 17 to overcome his fear of not being able to draw. They are mostly made from day-to-day ephemera: envelopes, stamps, cigarette packs, train tickets, strips of coloured paper, found images, stones from the beach or squashed rusty cans. Inspired by Surrealism and organised by the artist’s hand and complemented with strong lines, they make faces, figures, fragmented narratives. Like all great designs, they evoke surprise and the pleasure of recognition. As he put it: “Design is all about seeing and making connections which are not so obvious.”President of AIGA (American Institute of Graphic Arts) from 1963 to 1966. Trustee of MoMA (Museum of Modern Art) from 1965 to 1986. Member of the board of directors of IDCA (International Design Conference in Aspen) from 1968 to 1999. Board Director at Municipal Art Society of New York in 1972-76. Member of AGI (Alliance Graphique Internationale) since 1978. Board Director at Smithsonian Institution from 1988 to 1996. He was elected to the Hall of Fame of ADC New York (Art Directors Club) in 1982. Trustee of the Archives of America Art in 1987-90. Royal Designer for Industry since 1992. He was awarded numerous prizes including the Industrial Art Medal from AIA (American Institute of Architects) in 1967, the Philadelphia College of Art Gold Medal in 1971, AIGA Gold Medal (American Institute of Graphic Arts) in 1979, the President’s Fellow Award from the Rhode Island School of Design in 1981, the First International Design Award from Japan Design Foundation in 1983, the Yale Arts Medal in 1985, the Distinguished Service Award from New School University in 1999, the Society of Illustrators Gold Medal in 2002, the Tokyo Type Directors Club Award in 2004, and the National Design Award for Lifetime Achievement in 2014. He also received a honorary doctorate in law from the Portland School of Art in 1981, and two honorary doctorates in fine arts from the Philadelphia University of Arts and the Corcoran Museum of Art, Washington in 1991. Along with Seymour Chwast, Sid Chafetz, Saul Bass, Milton Glaser, Paul Rand, Ikko Tanaka...

This depicts a Crab, In Hebrew Mazel Sartan (the Zodiac symbol Cancer, June-July) all made by hand. woven and stitched. Kopel Gurwin (Hebrew: קופל גורבין‎) (1923–1990) was an Israeli tapestry wall hanging, painter and graphic artist. Kopel (Kopke') Gurwin (Gurwitz) was born and raised in Vilna, the capital of Lithuania. He spoke Yiddish at home, but simultaneously studied Hebrew at their school which was part of the Tarbut educational network. Kopel was active in the Hashomer Hatzair youth movement. In the 1930s, as a teenager, Kopel helped his parents with the home finances by working in a suit workshop, there he first encountered the art of sewing. With the outbreak of the Second World War and the German invasion of Vilna, the Jews were imprisoned in camps and ghettos. Kopel and his brother Moshe were separated from their parents and were put to work in coal mines and peat. Kopel's parents were taken to the Stutthof Nazi concentration camp where they died of typhus within a month of each other. Kopel's 12-year-old sister Chava was turned over to the Germans by a Polish family and murdered. The brothers were arrested by the Germans, but were saved thanks to the connections of Nina Gerstein, Kopel's drama teacher. They hid in an attic until they were discovered, fled and moved to Riga, where they were caught and sent to the Stutthof concentration camp where they were imprisoned until the end of the war. They were put to work maintaining and cleaning trains and took part in one of the death marches. In July 1946, Kopel and Moshe sailed to Helsingborg, Sweden, as part of operation "Folke Bernadotte", in which Sweden took in ill survivors for rehabilitation. Once he recovered, Kopel worked in a publishing house and later was appointed director of the local branch of the Halutz movement. In 1950 Kopel and Moshe made aliyah to Israel. Kopel worked as a survey for the Survey of Israel Company. In 1951, he enlisted to the Communication Corps and served as a military draftsman. There he won first prize for the design of the front cover of the Communication Corps bulletin. With his discharge from the army at 29 he started studying drawing and graphics at the Bezalel Academy of Arts and Design in Jerusalem. Among his teachers were Isidor Ascheim, Shlomo Vitkin, Yossi Stern and Jacob Steinhardt. At the end of his first year of study, Kopel won the Reuben and Sarah Lif Excellence Award in written studies. During his studies he also won additional prizes: In 1956 he won first prize from the Lethem Foundation in California for poster design. Later the same year, Kopel won the Hermann Struck prize for his drawing on the theme of Jerusalem. In 1957 he won an additional first prize from the Lethem Foundation and second place from the printing company Ortzel for a drawing for a Jewish New Year greeting card. In 1958 he won first prize in a competition to design a poster for Tel Aviv's jubilee. Two years later he won three other awards: First and third prize for designing a poster for Israel Independence Day, celebrating 12 years of the State of Israel. Also that year Kopel won first prize for a poster to mark the 25th Zionist Congress. In 1964 he entered the Independence Day poster competition on the theme of aliyah and won first and second prize. Four years later he again entered the competition on the theme of 20 years of Israel's independence and won first prize. The poster was styled like a Holy Ark curtain with two lions and a menorah at its centre. This poster appeared on the cover of the famous book Jewish Art and Civilization, edited by Geoffrey Wigoder as well as the record Voices of 20 Years, 1948-1968, edited by Yossi Godard. In April 1971 he won first prize in the Independence Day poster competition for the fourth time. Kopel's Folk Art tapestry won the Israeli Independence Day Poster Contest in 1968 With the completion of his studies at Bezalel Kopel moved to Tel Aviv and was hired by Shmuel Grundman's graphics and design studio. Grundman took him to Europe with him to design and supervise the construction of Israeli exhibition pavilions. During his time at Grundman's he discovered the fibrous felt from which he produced most of his wall hangings. At the 1964 Levant Fair exhibition he used felt stuck onto wooden panels for the first time. The first felt wall hanging that Kopel produced was intended for the American Cultural Centre in Jerusalem and its theme was the United States Declaration of Independence. The wall hanging, which measured 2.85 X 1.85 meters, was stuck on a wooden panel. Kopel ordered rolls of felt from France and began work on wall hangings based on bible stories. He used a needle, hand sewing small even stitches with black embroidery thread which framed and highlighted every detail in the work, as well as using appliqué. The interior designer, Alufa Koljer-Elem, introduced him to Ruth Dayan who managed the shop Maskit in September 1967 he opened his first solo exhibition at the Maskit 6 gallery, in which 12 wall hangings were displayed. In light of the exhibition at Maskit 6, Meira Gera, the director of artistic activity at the America-Israel Cultural Foundation, organized an additional exhibition of his works at the foundation's exhibition hall in New York City. The exhibition sparked immense press interest, and was also displayed for a few months at the New York Jewish Museum, from where it travelled throughout the United States. Followed by the exhibition at the Delson-Richter gallery in Old Jaffa, which was later also exhibited at the Jerusalem Theatre. Kopel's tapestry "The Time for Singing has Arrived" was printed on a UNICEF greeting card in 1978 and again in 1981. The Israeli Philatelic Service issued three stamps based on three of Kopel's holy ark curtains and one stamp based on an Independence Day poster he designed. Kopel's creations decorate a large number of synagogues, public buildings, hotels and private collections which were purchased in Israel and around the world. They have decorated, among others, the walls of the King David...

Darren Goins, (American, b. 1993) Acrylic paint and metal flake glitter with silkscreen on paper Not signed on front. (presumably signed verso but has not been examined out of frame) Overall: 30-1/4"h x 26-1/4"w Paper Size: 26-1/2"h x 22-1/2"w Darren Goins (American Post War and Contemporary art) was born in 1984 in North Carolina but now resides in Los Angeles, California. Goins is well known for his unique style and aesthetic, which involves the combination of digital technologies and traditional painting methods to create abstract paintings. Working with a wide range of media–printmaking, painting, drawing, sculpture, neon–Goins’ art manages to capture the anxiety of the digital Information Age in both color and form. Creating imagery with both computer software and the paintbrush, Darren Goins’ paintings utilize both traditional methods of abstraction as well as digital intervention.Goins graduated from UNC Charlotte with a BFA in Photography and Printmaking and a minor in Art History. Goins soon moved to New York, and later Los Angeles where he currently lives and works. Goins’ style utilizes computer software, like Adobe Photoshop or Microsoft Paint, in order to etch the image onto an acrylic panel using a CNC carver. He then paints over the surface, which in turn becomes the backside of the painting as the reverse side of the clear panel faces the viewer. Goins in this manner appears to be tricking the eyes of the viewers with his work; portraying the pieces as a base relief in reverse as if the painting is somehow bubbling up from behind the acrylic panel. Goins’ pieces also confront the audience with how one can engage with, and utilizes, technology in art. Through his embrace of technical chance and his flexible, manual process, something organic peeks through from, within these images. In Goins’ paintings we can see the ghost of humanity filtered through digital media, fluidly weaved in space. Using his camera phone, digital prints, silver gelatin prints and screen-print drawings from his computer, Microsoft Paint or Photoshop. He has been exhibited internationally, Goins has had solo exhibitions at Hezi Cohen Gallery in Tel Aviv, Israel, Whitcher Projects in Los Angeles, Martin Lawrence Galleries, La Jolla, California and Hap Gallery in Portland, Oregon among others. Goins has participated as an artist-in-residence at Socrates Sculpture...

Eclectic, mixed media wall hanging textile tapestry by Marlene (Marlen) Richard featuring abstract embroidery atop free hanging locks of fabric over a black background embellished with gilt fabric accents. Hand made and hand embroidered. This had a paper artists label but it has since become detached. Overall image resembles a colorful pop art sunset over ocean waters. Hanging cords in various fabrics, colors and textures. Her work bears the influence of Sheila Hicks and bears similarities to Latin American, Colombian textile artists Olga de Amaral and Stella Bernal. Hand made, hand woven felt and wool spectacular textile wall hanging fabric sculpture by Miami woman artist Marlene Richard. It consists of long hanging pods...

Fischbach Gallery label verso 1986 from corporate art collection, pigmented cast paper Ken Polinskie, born 1952 Astoria, New York Education School of Visual Arts, NY, NY Arts Students League, NY, NY High School of Art and Design, NY, NY New School for Social Research, NY, NY Solo Exhibitions 2012 Carrie Haddad Gallery, Works on Paper, Hudson, NY 2010 Nicole Fiacco Gallery, Nothing to Fear, Hudson NY 2008 Nicole Fiacco Gallery, Griffon’s Cat.. Hudson, NY 2005 Nicole Fiacco Gallery, Ken Polinskie: Then and Now, Hudson, NY 2002 Carrie Haddad Gallery, Hudson, NY 1996 Rensellaer County Council for the Arts, The Art Center, Troy, NY 1995 Dieu Donne Papermill Gallery, New York, NY 1995 Centro Colombo Americano, Colombia, S.A 1990 Carol Getz Gallery, Miami, FL 1988 Fischbach Gallery, New York, NY 1985 Fischbach Gallery, New York, NY 1983 Fischbach Gallery, New York, NY 1983 Osuna Gallery, Washington, DC 1979 Southeast Museum, Brewster, NY Selected Group Exhibitions 2013 Perspectives on Olana Opera House, Hudson NY 2012 Works on Paper, Carrie Haddad Gallery, Hudson NY 2010 Warren Street, Hudson Opera House, Hudson NY 2009 Self Portraits, Hudson Opera House, Hudson NY 2008 En Route, Nciole Fiacco Gallery, Hudson, NY 2007 On The Mark, Spencertown Academy, Spencertown,NY Art DC, Pyramid Atlantic Arts Center; Washinton, DC Township Series, CCCA, Hudson, NY 2006 Parnassus Poetry in Review, Heidi Chow Gallery, New York NY Artswalk, Pocketbook Factory, Hudson, New York, Holly Hughes, Curator 2005 A Universe of Art, Credit Suisse, NY, New York; Nicole Fiacco Gallery Hand Papermaking Magazine “Art of Pulp Painting” edition portfolio, 1 of 17 artists 2005 Collaboration as a Medium, 25 Years of Pyramid Atlantic, Edison Place Gallery Washington, D.C., traveling exhibition 2002 Rags to Riches: 25th Year Anniversary Exhibit, The Hecksher Museum, Huntington, New York. Dieu Donne Papermill, traveling exhibition 2001 Works on Paper, The Tree Dog Series, Carrie Haddad Gallery, Hudson, NY 1999 New York Paper, Carrie Haddad Gallery, Hudson NY 1997 Crossing Over, Changing Places USIA International Final Show Corcoran Gallery of Art, Washington, DC 1995 Works on Paper, Warren Street Gallery, Hudson, NY 1994 Raw and Cooked, New York Public Library, NY, NY Evolution of the Print, Addison/Ripley, Washington, D.C Selected Books Project at Dieu Donne, Berkshire Art...

Aaron Fink (American, b. 1955) Coffee Cup Signed and dated "Aaron Fink 84" lower right. framed. Provenance: From an important Massachusetts corporate collection. Floated against a foam core backing so that the edges of the sheet are visible. The two tiny tears are probably at site of old tack holes, where the tacks pulled through the paper due to the weight. Born in Boston, Fink received his BFA from the Maryland Institute College of Art and his MFA from the Yale University School of Art. His work has been exhibited widely throughout the U.S., Europe, Japan and Australia. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John...

Sandro Visca, born in L'Aquila in 1944, has lived for many years in Pescara where from 1968 to 2003 he has taught Painting Disciplines at the Academy Section of the "G. Misticoni "(and among his many students, we remember at least the explosive talent of Andrea Pazienza). He made his debut early in important exhibitions, and already in '62 he was selected for the National Design Biennial "Premio Recoaro Terme" together with artists such as Casorati, Capogrossi, Morandi and Guttuso. In 1963 he moved to Rome where he lived until 1967. Versatile and busy, he collaborated in those years with the important seasons of the Teatro Stabile dell'Aquila, realizing in 1969 the scenes of Alberto Burri for "The Adventure of a Poor Christian" by Ignazio Silone (directed by Valerio Zurlini). The meeting with Burri grows to friendship, human association no less than artistic. Together they will spend numerous hunting trips, among the Umbria of the master of Città di Castello and their arcane mountains of Abruzzo. In 1973 he was invited with a work of six meters, in the Italian section "The empty space of the Habitat" of the XV International Triennial of Milan. Passionate frequentist of his mountains, together for love of hiker and science of anthropologist, he realizes in '75 a very particular performance, which is gesture, ritual, manifest, and at the same time medium-length: "A red heart on the Gran Sasso...

Sandro Visca, born in L'Aquila in 1944, has lived for many years in Pescara where from 1968 to 2003 he has taught Painting Disciplines at the Academy Section of the "G. Misticoni "(and among his many students, we remember at least the explosive talent of Andrea Pazienza). He made his debut early in important exhibitions, and already in '62 he was selected for the National Design Biennial "Premio Recoaro Terme" together with artists such as Casorati, Capogrossi, Morandi and Guttuso. In 1963 he moved to Rome where he lived until 1967. Versatile and busy, he collaborated in those years with the important seasons of the Teatro Stabile dell'Aquila, realizing in 1969 the scenes of Alberto Burri for "The Adventure of a Poor Christian" by Ignazio Silone (directed by Valerio Zurlini). The meeting with Burri grows to friendship, human association no less than artistic. Together they will spend numerous hunting trips, among the Umbria of the master of Città di Castello and their arcane mountains of Abruzzo. In 1973 he was invited with a work of six meters, in the Italian section "The empty space of the Habitat" of the XV International Triennial of Milan. Passionate frequentist of his mountains, together for love of hiker and science of anthropologist, he realizes in '75 a very particular performance, which is gesture, ritual, manifest, and at the same time medium-length: "A red heart on the Gran Sasso...

Born in 1918 in Budapest, Hungary, Engel began his professional career in animation as a color designer at the Walt Disney studio. Although his credits include work on such classics as Disney’s Bambi...

Born in 1918 in Budapest, Hungary, Engel began his professional career in animation as a color designer at the Walt Disney studio. Although his credits include work on such classics as Disney’s Bambi...

Property from the Spertus Museum, Spertus Institute of Jewish Studies, Chicago, Illinois

Reginald Wilson was born in 1909 in the small town of Butler, Ohio. Determined from boyhood to be an artist, he arrived at the Art Students League of New York when he was twenty. He studied with John Stuart Currie, among others, meanwhile making a living with odd jobs like that of office boy or night watchman. He was an easel painter in the Federal Art Project and served for three years as an airplane mechanic in the US Army Air Force during World War II. He and the artist Carolyn Haeberlin were married in 1942, moving in 1945 to where they made their home in a 200-year-old farmhouse. Wilson’s paintings and works in other media were exhibited widely beginning in the 1940’s, in New York City and in major museums and universities across the country. In Woodstock he showed at a number of galleries including that of the Woodstock Artists Association where he won the 1973 Sally Jacobs-Phoebe Towbin Award. His mid-Twentieth century contemporaries included Karl Fortess...

Acrylic, sand, and earth on paper. Signed, titled, and dated 1986 en verso. Michael Young Auto Biography I was born in 1952, in Kansas City, Kansas. My interest in art began as a child observing my father Eugene draw and paint in our basement at our home in Lansing, Kansas. At seventeen I enrolled into a two year Commercial Art program in Salina, Kansas. After graduation I found employment at an architectural illustration...

Reginald Case (1937-2009) Geruchte: Rumors, Referring to persecution of Jews Case continued with contemporary works of Barbie and Madonna (entertainer) that reflected the glamour of an earlier era. In these there is an iconography of twentieth-century life that explores the imagery at the roots of American history and popular culture. In a recent series conmsisting of four groups of photo collage prints, Case has depicted Marilyn Monroe in variations called "MARILYN MONEY". This series substitutes her image for American currency...

Ernest Tino Trova (February 19, 1927 – March 8, 2009) was a self-trained American surrealist and pop art painter and sculptor. Best known for his signature image and figure series, The Falling Man...

This is a large sculpture in 2 parts it lifts off the base. Born in 1923, alumnus of the Warsaw Academy of Fine Arts. Student of the Warsaw University of Technology, is an extraord...

Sanguine Drawing on Canvas Adja Yunkers b. 1900, Riga, Russia; d. 1983, New York Adja Yunkers was born Adolf Junkers on July 15, 1900, in Riga, Russ...

Paul LaMantia, who is often associated with the Imagists, has works in the permanent collections of the Art Institute of Chicago, the Museum of Contemporary Art, Chicago, and The Collection of Jean Dubuffet, Paris, France. Paul LaMantia is widely known in Chicago for his intense, often excoriating drawings and paintings. A student of Briggs Dyer at the School of the Art Institute in the ’60s, LaMantia was a daring and wildly inventive young artist who also attracted the attention of Jean Dubuffet, who asked him to come to Paris to swap ideas. His hallucinatory vision is inhabited by a comically disturbing mix of sinister creatures. A bird or bug-like being with multiple heads shares the stage atop a glass floor with a human/non-human creature sporting a horned helmet, a lizard type animal and other varmints. The artist insists that although these nightmarish inventions are not of the real world, they are in fact about the real world. Garish color, strong black outlines and a composition that fits the tradition of horror vacuii (fear of open space) characterize this drawing. A variety of media were utilized to execute his work. LaMantia’s rarely seen early drawings are outrageous, beautiful and disturbing. Paul LaMantia participated in these exhibits: Selections from the Permanent Collection: Made in Chicago and Chicago's Bauhaus Legacy Ukrainian Institute of Modern Art (UIMA) Subconscious Eye, Face Forward: The Art of the Self-Portrait Printworks Gallery. Global Blindnese, Packer Schopf Gallery Paul LaMantia has Exhibited with these artists: Alexander Archipenko, Morris Barazani, Richard Hunt, Richard Haas, Carole Harmel, Michiko Itatani...

Harry Koursaros (1928-1986) Peaceable Kingdom, the Ram, 1983 Framed 34 X 45. sheet 25.5 X 37 Hand Signed Provenance: Bank of Boston corporate collection. bears label verso. Harry Koursaros, Artist, painter, printmaker and filmmaker Student at Albright College class of 1950. In 1964 he came to Albright College as professor to establish an Art Department, and gained national recognition. He started as a modernist realist, later moving to Abstract Expressionism and eventually into Pattern & Decoration. He painted with metallic and iridescent pigments. In the late 1960s he began a program of "underground" films at the college. Many of these were avant-garde works from New York that included works by Andy Warhol. One of Koursaros students, Jerry Tartaglia, founded in 1974 the Berks Filmmakers, a group of cutting-edge movie makers who acquired an international reputation. He was included in numerous shows: "Discovering Color": Two Decades of Abstraction, paintings, works on paper, and prints from three pivotal art movements in America during the sixties and seventies: Abstract Expressionism, Color Field Painting, and Minimalism. Artists include Edward Avedisian, Walter Darby Bannard, Dan Christensen, John Grillo, Lee Krasner, and more. “Drawn From the Collection” paintings, limited edition prints and photos by such notables, among others, as Mark Tobey, Alice Baber, Rufino Tamayo and a photograph by Gordon Parks. "20/20": The Visionary Legacy of Doris Chanin Freedman. Works by Nicholas Africano, Ida Applebroog, William Baziotes, Bernd and Hilla Becher, Joseph Beuys, Jime Dine, Gunther Forg, Leon Golub, April Gornik, Hans Haacke, Keith Haring, Jenny Holzer, Komar and Melamid, Harry Koursaros, Lee Krasner, Robert Mapplethorpe, Ana...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

This intaglio mixed media unique monoprint is on heavy hand made paper with beautiful deckled edges on all sides. it is a Surrealist image with nude figures and planets. This monoty...

This intaglio mixed media unique monoprint is on heavy hand made paper with beautiful deckled edges on all sides. it is a Surrealist image with nude figures and planets. This monoty...

This intaglio mixed media unique monoprint is on heavy hand made paper with beautiful deckled edges on all sides. it is a Surrealist image with nude figures and planets. This monoty...