American Contemporary Art

Andrew Mandolene ”Pink Purge” Acrylic on canvas Unframed Signed at lower right AM, 20. Due to the Size of this painting it is recommended to hang on D-rings. D-rings are mounted on the stretcher on back of painting for hanging purposes, ANDREW MANDOLENE (b. 1960) Andrew Mandolene is one of those rare talents, who hadn’t picked up a paint brush in 40 years since graduating from The Art Institute of Pittsburgh. After a successful career as an Art Director, he determinedly took to the canvas in 2020 as though he had been painting for years developing a style that he felt certain defined him as a unique artist. Mandolene’s style of painting evolves from his sensibility of scale, form and color. The tension felt in his compositions combined with that strong color sense keeps him up at night with excitement. His creative space is shared in a Palm Springs warehouse with his other passion.Classic car collecting...

This still life painting on panel captures a variety of objects. Among the objects depicted are a beautiful venetian glass bowl, a cup of Italian gelato, a ripe peach, a white life mask and an obsolete iPod all placed upon a table. These masterfully painted objects create a tableau of our times. This artwork is framed in a simple antiqued silver wooden frame measuring 8.75 H x 14.75 W inches. Andrew S. Conklin Still life with Italian bowl, life mask, peach and iPod Oil on panel Measures: 7.50 H x 13.50 W in 19.05 H x 34.29 W cm ACK036 Andrew S. Conklin Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...

A very cool "Toulouse-Lautrec" collage lithograph by Peter Max, circa 1960s. The print is floating on a gold mat background and overall measures 16.75" x 21" (image is 9.75" x 15.75...

Abstract expressionist lithograph by Martha Zelt, American, circa 1950s. An outstanding black and white abstract expressionist lithograph by w...

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

Josef Albers Formulations - Articulations I & II Edition 974/ 1000 1972 screenprint on paper Embossed with Josef Albers initials, portfolio and folde...

Large-scale abstract painting, American, circa 1960s. It measures an impressive 50.25" height x 42" width. This piece is currently unframed. If you prefer a black gallery frame (as s...

Monogrammed lower right, signed, dated 2018, with title on verso- "Have You Got Somewhere Better to Be?". A Surreal painting featuring a fashion model type figure wearing a black sli...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Gigantic California freeway sign from 1986. Two piece sign spanning 8.5 feet long and 6 feet tall. Cats eye reflectors throughout. Retired sign from California highway system. State Route 78 is a California State highway that runs the entire width of the state from Oceanside to Blythe. Green metal sign depicting Oceanside as North and Escondido to the East. Massive statement piece. Great piece of California and transportation ephemera. Stamped 'Property of the State of California...

Geometric Collage by Artist Heather Borsche Contemporary Art, Whimsical collage by San Diego artist, framed piece with great colors and Postmodern Me...

Suite of seven abstract lithographs by Josef Albers, from folder XVIII-11 of interaction of color. They measure: the left column, from top to bottom measures: 5.25"H x 3.75"W, 4.5"H ...

Paul Jenkins original watercolor titled "Phenomenal Magnet" circa 1972. Painted on wove paper with a blind stamp veritable paper. Image is 21.5" ...

Framed Rug, Picasso's 'Guitar, Glass, and Fruit Dish' Decorative Art A wonderfully done abstract carpet in the manner of Picasso framed in a custom Luc...

White on white paper cuts collage. White wood frame. Artist Nurit Amdur creates paper cuts and collages revolving around the journey of transition and turning something into “ someth...

Bettcher (20th c.), Portrait of a Native American Chief, oil on canvas and paper relief, signed "Bettcher" at lower right. An unusual portrait format of a Native American Chief deep ...

Ink and Acrylic painting By Virginia Dutton, Titled Torso, Signed & Dated Dutton, 2015. Large Ink and acrylic painting on canvas and signed 'Dutton' and dated on the right side...

Renato Freitas, b. 1974, oil and mixed media paintings titled Silver 1 and Silver 2. Each work is framed in a black wood frame. Renato Freitas was born in Brazil and now works in...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #54 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

Title: Selenoglyph, #2 Year: 2015 Selenoglyph, #2 (“written upon the moon”) is a large-scale, wall-mounted sculpture executed entirely in half-inch copper tubing. Its inspiration...

Artist: John Patrick Dugdale (New York, b. 1960) Title: The Spirit Eye Medium: Cyanotype Year: 1998 Edition: number 3/12 Measurement: H 14", W 11"...

Great vintage hand-painted sign. No smoking and a crossed out cigarette hand-painted on white steel. Good vintage condition.

Work on paper by Jorge Pardo (°1963) Cuban born but American artist. Sculptor and designer. Works from him can be found worldwide. This work: pantone ink on vellum Created in 1998...

"Midsummer Blue", Swedish abstract expressionist watercolour collage painting on paper. Framed in white lacquered wood frame, measuring 41" length x 29.25" width x 1.25" depth. Painting measures 35.25" length x 24" width, unframed. Signed Peter Astrom...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his travels. His ongoing series of large-scale kites bridge the gap between flat art and sculpture, each crafted of split bamboo frames covered with stretched muslin and a collage of vintage ephemera – including kimonos, obis, paintings, scrolls, drawings, metal leaf, bleeding paper, book pages, or anything with a story to tell. In “New Morning,” panels of teal and indigo leach across the expansive canvas with captivating irregularity. Contrasted by a neutral field of vintage block prints...

Sculptural canvas relief with a 17th century Italian Florence fragment by Elena Rousseau. The sculpted canvas is molded together with fresco plaster, g...

Josef Albers abstract lithograph from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from Po...

This is a wonderful screenprint on canvas with hand embellishment by Steve Kaufman. Once Andy Warhol's assistant, Steve Kaufman was a prominent pop artist in the 1980s-2000s. This Be...

Vivid color and intricate design are the focal points of this aquatint colored etching print numbered 2 of 4. Signed I.P.I.

Extraordinary vintage 1980s Memphis style painting with intriguing 3D design. This is a mixed media piece that blurs the line between painting and sculpture. In fact, one could go so...

Black and White Minimalist Print with Skulls "framed and ready to go" Image size: 8" x 11 3/4"

This is a mid-century modern cubist abstract oil on canvas that dates to 1957. The artist’s last name is Covick. The geometric elements are in pear greens on an eggplant background. ...

Abstract mixed media painting on panel titled "Pacific #2" by Margaret Ash, circa 1950s. Retains label from Esther Bear Gallery in Santa Barbara, California.

A mixed-media and resin collage by Rex Ray, signed by the artist. USA, 2004.

Print: Digital Print Size: 508 x 406 mm (20 x 16 in) Edition of 30 This work is signed (2015) Hungarian conceptual artist Agnes Denes was a pioneer of early environmental ar...

Georges Braque and the Cubist Still Life 1928-1945 by Karen K. Butler and Renée Maurer. Mildred Lane Kemper Art Museum, 2013. This book offers the first detail...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #62 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics...

This abstract painting by little known Los Angeles artist is a fine example of color abstraction. The painting portrays an abstract ballerina dancer. The painting has been newly fram...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

This is a modern abstract oil painting on canvas by Kay Hillman. The piece most likely dates to the late 70’s or early 80’s. The artist is American and passed away in 1996. It is sig...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Abstract charcoal drawing by Miriam Kubach, American, circa 1960s. It is executed on paper and has been professionally framed under UV resistant glass in a clean lined black lacquer ...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Unique woven wire wall hanging sculpture using stainless steel and precious metals. Designed and executed by artist Raoul Lametz

Great wooden trade sign from a California farm. Giant peach with graphics on both sides. Sign reads 'Hamilton's Tree Ripened Peaches 1/2 Mile' on on...

Graphite on tempered masonite, signed and dated (DAVID ROTH 2011) on the back. This piece was exhibited "Salon 2015" NYC. Measures: 48" x 48". Exhibitions of Roth's Graphites: The Gallery Upstairs, Buffalo NY 1967, The Everyman Gallery NYC 1969, Robert Elkon Gallery NYC 1970, Liz O'Brien NYC 2001 and The Moderne Gallery Phila...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Stratton Mountain Resort flag depicting a cartouche formed vinyl decal surmounted on a red nylon field. The black decal with a bear paw logo. Presented in a custom black frame and gl...

John Fraser (1952-), three dimensional art collage on board with an open and pageless book, tape, acrylic paint and multilayered paper. Nicely backed and mounted. Titled "Interior with Blue Highlights." Measures: 18" x 18". Galleries with John Fraser permanent collections and select permanent collections. The Cincinnati Art Museum, Cincinnati, OH. The Delaware Art Museum, Wilmington, DE. The New Mexico Museum of Art, Santa, Fe, NM. The Contemporary Museum, Honolulu, HI. The McNay Art Museum, San Antonio, TX. Museo de Arte Contemporaneo Esteban Vincente...

A limited edition abstract art print in watercolor and ink on paper by Angelo Testa. Signed and dated 1974. Testa, b. 1921 in Springfield, MA, moved to Chicago in the 1940's where he...

Lovely pair of vintage 1970s pencil signed, limited edition arboreal prints. Arboreal because they’re all about trees… and leaves. This listing is for two pieces of art, one price. T...

Dynamic all-over abstraction constructed using alternative painting methods. The paintings are constructed using art conservation techniques and alternative processes to laying down ...

A beautiful large scale work of art by Laddie John Dill. Work is composed of cement, glass, wood and pigment applied to canvas. Signed and dated verso. From the artist's website: La...

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

For sale is an original signed museum-quality Magnum photographic print by world-renowned and critically acclaimed photographer Chien-Chi Chang (Taiwanese, b. 1961). Titled "Family...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

A selection of butterfly collage artworks exhibiting examples of custom backgrounds with wrapped & painted frame options. This past year, Dawn has been creating large format butter...

A large and captivating unsigned painting featuring sinuous abstract leafy vine- like interlaced organic elements in orange, red and black on a soft mottled green and cream ground. U...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...