"Domus" 2016 Mixed-Media 72 x 60 Inch Painting by Kathi Robinson Frank
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 8
"Domus" 2016 Mixed-Media 72 x 60 Inch Painting by Kathi Robinson Frank
About the Item
- Dimensions:Height: 72 in (182.88 cm)Width: 60 in (152.4 cm)Depth: 2 in (5.08 cm)
- Style:Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:2016
- Condition:
- Seller Location:New York, NY
- Reference Number:1stDibs: LU83565093783
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2000
1stDibs seller since 2007
61 sales on 1stDibs
Typical response time: 2 hours
More From This SellerView All
- "Opening, " Large Abstract Mixed-Media Painting on Canvas by Kathi Robinson FrankBy Kathi Robinson FrankLocated in New York, NY"Opening," 2015 by artist Kathi Robinson Frank, from her latest series of large 72" x 56" canvases incorporates oil, acrylic, charcoal pastel and ...Category
2010s American Modern Contemporary Art
MaterialsAcrylic
- "Gathering, " 2021 Large Framed Mixed-Media Abstract Oil by Kathi Robinson FrankLocated in New York, NY2021 is a large framed abstract oil painting by Kathi Robinson Frank. This mixed-media painting incorporates oil, acrylic, charcoal, and metallic paint in shades of black, white, gra...Category
2010s American Modern Paintings
MaterialsPaint
- "Cathedral, " A Large Framed Abstract Painting by Kathi Robinson FrankLocated in New York, NY"Cathedral," is a large abstract painting featuring oil, oil stick and pastel on canvas. The warm brilliant shades of burnt orange, rust and magenta, tempered by the cream and gray g...Category
2010s American Modern Paintings
MaterialsPaint
- "Concept, " a Large Multi-Colored Abstract Painting by Kathi Robinson FrankBy Kathi Robinson FrankLocated in New York, NY"Concept," 2022 is a large abstract acrylic, oil featuring deep violets, yellow ochres, and metallic gold on a white ground tinged with pale blue. In addition, the artist incorporated touches of orange, forest green and maroon together with web-like ink drawn forms to achieve light and dark and depth. New York City born Kathi Robinson Frank...Category
2010s American Modern Paintings
MaterialsAcrylic, Paint
- "Topography 3, " 2020 Large Framed Abstract Oil Painting by Kathi Robinson FrankLocated in New York, NY"Topography 3," 2020 is a large framed abstract oil painting by Kathi Robinson Frank. This mixed-media painting incorporates oil, acrylic, charcoal, and metallic paint in shades of b...Category
2010s American Modern Paintings
MaterialsPaint
- "Landscape From An Airplane, " 2021 Abstract Painting by Kathi Robinson FrankLocated in New York, NY"Landscape From An Airplane" 2021 is large framed abstract mixed media oil painting by Kathi Robinson Frank with pastel, graphite and oil stick in sunny shades of pale yellow, tan, r...Category
2010s American Modern Paintings
MaterialsPaint
You May Also Like
- Expressionist Painting of Lion by Michelle Betancourt, Mixed Media 60" x 60"Located in Fort Lauderdale, FLMonumental mixed media painting titled "Una Capa Para El Rey" which translates to "A Cape For The King". Expressionist painting by American artist Michelle Betancourt living in Barra...Category
Early 2000s Colombian Expressionist Paintings
MaterialsGold Leaf
- Vintage Frank Walcutt Mixed Media Abstract Painting, 1970sBy Frank WalcuttLocated in Miami, FLVintage Frank Walcott mixed media abstract painting, 1970s Offered for sale is a 1970s Mid-Century Modern Frank Walcott mixed media abstract 3-dimensional painting. This is an ex...Category
Vintage 1970s North American Mid-Century Modern Paintings
MaterialsPaint, Canvas, Wood, Driftwood
- William Phelps Montgomery Abstract Mixed-Media Painting "Frenzy", 2016By William P. MontgomeryLocated in Miami, FLWilliam Phelps Montgomery Abstract Mixed-Media Painting "Frenzy", 2016 Offered for sale is a mixed-media (acrylic, charcoal, and markers) titled "Frenzy" by artist William Montgomer...Category
21st Century and Contemporary American Paintings
MaterialsAcrylic, Oak
$3,840 Sale Price20% Off - Abstract Mixed-Media PaintingLocated in West Palm Beach, FLAbstract multicolored mixed-media painting reds gold black, late 20th century, from a Palm Beach Estate. Back shows this was originally displayed by an owner in Stockholm. Pain...Category
Late 20th Century American Modern Paintings
MaterialsPaper
- Mixed Media Painting by Steven ColucciBy Jackson PollockLocated in New York City, NYSteven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...Category
2010s Paintings
MaterialsAcrylic
- Mixed Media Painting by Steven ColucciBy John ByardLocated in New York City, NYSteven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...Category
2010s Paintings
MaterialsAcrylic