2010s Paintings
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Item type: New and Made To Order
Period: 2010s
Sea Shells & Water Bottle on Lacquer Tray, Oil on Panel, Still Life Painting
Located in Chicago, IL
This delicately rendered still life painting presents the viewer with a collection of objects to contemplate. Four sea shells of varying shape and size and a water bottle are arrange...
Category
American Modern 2010s Paintings
Materials
Paint
Contemporary impressionistic painting inspired by landscape of the Sussex Downs
By Jessica Zoob
Located in London, GB
'Healing' by British artist Jessica Zoob lives up to its title - a peaceful and tranquil place of sanctuary. Even when there are storms in evidence, metaphors for the turbulence of l...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Book of the Hunt by Gaston Fébus, One-Time Only Limited-Edition Facsimile
Located in BARCELONA, ES
This is a one-time only facsimile edition limited to 987 copies of a Medieval illuminated manuscript, the Book of the Hunt, by the Fren...
Category
French Medieval 2010s Paintings
Materials
Leather
Citroen ID 19 Rally Liège-sofia- Liège 1962, ID Wing by Vinc
Located in Saint ouen, FR
Citroen ID 19 rally Liège-Sofia- Liège
1962
Bodywork painting - ID wing by Vinc
Posca, acrylic, automotive varnish
this piece can be displayed outside
The miniature is not sold...
Category
2010s Paintings
Materials
Metal
Multiverso Painting
Located in Milan, IT
This stunning wall sculpture and painting is a signature artwork among Abele Vadacca's collections. Depicting a precious feather hand-sculptured of steel and rendered with mesmerizin...
Category
Italian Modern 2010s Paintings
Materials
Textile
Abstract Oil Painting by French Artist Hortense Reynaud
Located in Los Angeles, CA
Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...
Category
French 2010s Paintings
Materials
Plexiglass, Oak, Paint, Paper
Infinite Painting
Located in Milan, IT
Symbolic of the philosophical concept of time and space, and a mesmerizing tribute to the infinity of the universe, this astonishing design is a wall sculpture and painting to display in any interior decor. Part of the Infinito Collection, it is painted on a delicate silk...
Category
Italian Modern 2010s Paintings
Materials
Textile
Haumea Wall Sculpture
Located in Milan, IT
A magnificent artwork by Abele Vadacca, this painting or wall sculpture will imbue any classic or contemporary interior with unprecedented charm. Handp...
Category
Modern 2010s Paintings
Materials
Textile
"Camp in the Rapids" Original Oil Painting by Greg Parker
By Greg Parker
Located in Coeur d'Alene, ID
Camp In The Rapids by Greg Parker
Item Number: AG0123_GP
Oil on canvas; 40" x 30". Unframed (frame not needed) North Idaho artist. Amazing firelight ...
Category
American 2010s Paintings
Materials
Paint
"Forest Deep" Original Oil Painting by Greg Parker
By Greg Parker
Located in Coeur d'Alene, ID
"Forest Deep" bny Greg Parker
Item Number: AH0108_GP
Oil on canvas; 40" x 60". Unframed. North Idaho artist. Bull moose and cow deep in the forest ov...
Category
American 2010s Paintings
Materials
Paint
Contemporary impressionistic painting in dark hues broken by shafts of light
By Jessica Zoob
Located in London, GB
'Night Garden Dreams' by British artist Jessica Zoob has an other-worldly quality that is best described as dreamscape. Even when there are storms in evidence, metaphors for the turb...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Abstract Oil Painting by French Artist Hortense Reynaud
Located in Los Angeles, CA
Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...
Category
French 2010s Paintings
Materials
Plexiglass, Oak, Paint, Paper
John O'Hara, PS Series, Commission, Encaustic Painting
By John O'Hara
Located in SAINT LOUIS, MO
In PS series. PS series explores the effects of powdered charcoal with encaustic wax.
Art Dimensions: 46 x 58 H inches
Framed Dimensions: 47 W x 59 H inches.
Maple float frame with gold leaf.
Commission lead time is 12 weeks.
John O'Hara (American, b. 1963) i s a self-taught artist from St. Louis and is known for his large-scale abstract decorative pieces. His medium of choice is encaustic—a mixture of pigments and beeswax and he allows the material to dictate color, line and texture. His works often feature natural and organic forms and incorporate both figural and abstract elements. O'Hara began his art career in 2018 and collectors and designers quickly took notice. O'Hara, co-founder of Forsyth, is known for his Vinyl series, Tar series, Brands series, Botanical series, Daisies series, Sardinia series, Square Dance series, and Get Your Shit Together series. His work is included in both public and private collections around the world. A few notables include:
Michael Kors Collection store in London as well as the Michael Kors showrooms in Milan, Paris, and New York
Maison de la Luz, the luxury hotel by Atelier Ace and designed by AD100 design firm Studio Shamshiri...
Category
American 2010s Paintings
Materials
Paint
Contemporary impressionistic painting inspired by landscape of the Sussex Downs
By Jessica Zoob
Located in London, GB
'Of Mist and Magic' by British artist Jessica Zoob has an other-worldly quality that offers a tranquil place of sanctuary. Even when there are storms in evidence, metaphors for the t...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Contemporary painting of rosy shades that references the lily ponds of Monet
By Jessica Zoob
Located in London, GB
'Pale Blue Day' by British artist Jessica Zoob is light and airy, a tranquil place of sanctuary. Even when there are storms in evidence, metaphors for the turbulence of life, there i...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Banana Palms Silver Metal Leaf Chinoiserie Wallpaper
Located in Staunton, VA
This set of 5 panels is the Banana Palms design hand painted on silver metal leaf paper. Each panel measures 36" wide by 120" tall. Total mural is 15' wide...
Category
American Chinoiserie 2010s Paintings
Materials
Silk
Huge contemporary impressionistic diptych in moody blues with vivid color
By Jessica Zoob
Located in London, GB
'The Edge of a Fairytale' by British artist Jessica Zoob is a spectacular diptych with each canvas measuring W270cm x H95cm. Each canvas is available as a separate purchase of £24,00...
Category
British Organic Modern 2010s Paintings
Materials
Paint
"King Salmon" Original Watercolor by Grant Nixon
Located in Coeur d'Alene, ID
King Salmon in the Salcha River, Alaska by Grant Nixon
Item Number: AG0096_GN
Watercolor on paper; 20" x 30". Well framed and matted. Grant is North Idaho artist specializing in watercolors. Very well done, nice colors. Arrives framed.
Period: Contemporary
Origin: Idaho, United States
Sizr: 20" x 30" Frame 30" x 40"
Family Owned & Operated
Cisco’s Gallery...
Category
American 2010s Paintings
Materials
Paint
Large scale contemporary impressionistic triptych portraying the season of Fall
By Jessica Zoob
Located in London, GB
'Autumn Triptych' by British artist Jessica Zoob is a monumental work by the artist comprising three canvases each measuring H120cm x W90cm. Its impact is...
Category
British Organic Modern 2010s Paintings
Materials
Paint
'Contemporary impressionistic painting capturing the Sussex Downs in winter
By Jessica Zoob
Located in London, GB
'A Wish To Build A Dream On' by British artist Jessica Zoob offers a tranquil place of sanctuary. Even when there are storms in evidence, metaphors for the turbulence of life, there ...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Contemporary impressionistic painting depicting landscape of water and mountain
By Jessica Zoob
Located in London, GB
'Mountain' by British artist Jessica Zoob draws the eye deep into a mysterious landscape. Even when there are storms in evidence, metaphors for the turbulence of life, there is optim...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Huge contemporary impressionistic triptych with flashes of color on milky ground
By Jessica Zoob
Located in London, GB
'Whirlwind Triptych' by British artist Jessica Zoob is a monumental work by the artist, with each painting measuring H120cm x W90cm. It has an invigorating and dynamic energy that is...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Abstract Oil Painting by French Artist Hortense Reynaud
Located in Los Angeles, CA
Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...
Category
French 2010s Paintings
Materials
Plexiglass, Oak, Paint, Paper
"Adam and Eve I" Contemporary Abstract Expressionist Oil Painting
Located in Haverhill, MA
Tree I, 54” x 52”, Oil on Canvas
Mira park biography
Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from companies...
Category
North American 2010s Paintings
Materials
Paint
Abstract Oil Painting by French Artist Hortense Reynaud
Located in Los Angeles, CA
Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...
Category
French 2010s Paintings
Materials
Oak, Paint, Paper, Plexiglass
Contemporary impressionistic painting that draws on the landscape of Sussex
By Jessica Zoob
Located in London, GB
'Beloved Hills' by British artist Jessica Zoob is evocative of the Sussex Downs in England close to the artist's home, a place of sanctuary and tranquilli...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Contemporary impressionistic painting in deep hues with bursts of vivid color
By Jessica Zoob
Located in London, GB
'Flower Filled Water' by British artist Jessica Zoob is evocative of Asia where she has spent so much of her time in recent years. It also pays homage to Monet...
Category
British Organic Modern 2010s Paintings
Materials
Paint
Contemporary impressionistic triptych with bursts of color against pale backdrop
By Jessica Zoob
Located in London, GB
The 'Where Angels Dance' triptych is a monumental work by British artist Jessica Zoob (three canvases each W150cm x H120cm). It offers a tranquil place of...
Category
British Organic Modern 2010s Paintings
Materials
Paint
"Eve" Contemporary Abstract Expressionist Oil Painting
Located in Haverhill, MA
Eve, 34” X 56”, Oil on Canvas Painting
MIRA PARK BIOGRAPHY
Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from compani...
Category
North American 2010s Paintings
Materials
Paint
Tintin Citroen Ami 8 on the Moon, Vinc Objective Moon
Located in Saint ouen, FR
Tintin Citroen Ami 8 on the Moon- Vinc
Objective moon support : door of Citroën ami 8
Mixed technique
Posca, acrylic, automotive varnish
This piece can be exposed outside
20...
Category
2010s Paintings
Materials
Iron
"Adam and Eves" Contemporary Abstract Expressionist Oil Painting
Located in Haverhill, MA
Adam and Eves, 54” X 52”, Oil on Canvas
MIRA PARK BIOGRAPHY
Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from co...
Category
North American 2010s Paintings
Materials
Paint
"Tree I" Contemporary Abstract Expressionist Oil Painting
Located in Haverhill, MA
Tree I, 52” x 62”, Oil on Canvas
Mira Park Biography
Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from companies...
Category
North American 2010s Paintings
Materials
Paint
"Tree II" Contemporary Abstract Expressionist Oil Painting
Located in Haverhill, MA
Tree II, 52” X 62”, Oil on Canvas
MIRA PARK BIOGRAPHY
Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from companie...
Category
North American 2010s Paintings
Materials
Paint
"Adam and Eve II" Contemporary Abstract Expressionist Oil Painting
Located in Haverhill, MA
Adam and Eve II, 50” X 48”, Oil on Canvas
MIRA PARK BIOGRAPHY
Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from ...
Category
North American 2010s Paintings
Materials
Paint
Atlas Vallard, One-Time Only Limited Facsimile Edition of the Atlas of 1547
Located in BARCELONA, ES
This is a one-time only facsimile edition limited to 987 copies of an atlas from the Renaissance, the Atlas Vallard, owned by the Huntington Library in San Marino, CA, made by combin...
Category
French Renaissance 2010s Paintings
Materials
Leather
Tintin and Snowy in Amilcar, Vinc
Located in Saint ouen, FR
Tintin and snowy in Amilcar - Vinc
Technique: acrylic, posca and automotive varnish
Aluminium signpost
Possibility to put it outside
Dimensions: Ø47xP3cm
2022
Price : 390...
Category
2010s Paintings
Materials
Iron
OTR Plate 004 Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...
Category
American Modern 2010s Paintings
Materials
Aluminum
OTR Plate 015 Symmetry Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image.
16 plates...
Category
American Modern 2010s Paintings
Materials
Aluminum
OTR Plate 003 Swaying in Developer Chemicals Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image.
16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called Swaying In Developer Chemicals showing an overlay of all the design proposals for St. Peters Cathedral.
Each plate is related to a scene and some lines from the book.
Plate 003: SWAYING IN DEVELOPER CHEMICALS "At the end of the ambulatory, his vision is an unfinished photograph swaying in developer chemicals, still blurry and out of focus...
Category
American Modern 2010s Paintings
Materials
Aluminum
Dioscorides of Cibo and Mattioli - One-Time Only Limited-Edition Facsimile
Located in BARCELONA, ES
This is a one-time only facsimile edition limited to 987 copies of the Dioscorides of Cibo and Mattioli made during the 16th century. We created it by combining the highest technology with the mastery of the bookbinders who have handmade its binding by hand using only 100% full grain naturally tanned leather.
In this remarkable codex, the artistic genius and botanist Gherardo Cibo (1512-1600) compiled a selection of medical and botanical texts from the Discorsi by the famous physician of Siena Pietro Andrea Mattioli (1501-1577), and illustrated them with more than 160 remarkable pictures of plants and landscapes that rank amongst the most beautiful of the Renaissance.
Discorsi is Mattioli’s Italian translation of Dioscorides’ De Materia Medica (1st century AD) with the addition of lengthy commentaries based on his personal experience and on popular and learned medicine.
Gherardo Cibo was an avid reader and admirer of this book by Mattioli. He copied entire passages in neat script, adding his own comments, anecdotes and legends and, more importantly, illustrated them with delicate and lifelike botanical images...
Category
Italian Renaissance 2010s Paintings
Materials
Leather
OTR Plate 007 Fluorescent Epileptic Rays Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...
Category
American Modern 2010s Paintings
Materials
Aluminum
OTR Plate 011 the Sandy Wind Licks His Eyes French Inhale Printed on Aluminum
Located in Brooklyn, NY
This plate comes from the book On the Rock published by Montez press in 2016. The plates are a collaboration between the founders of figure ground on how to interrogate text into ima...
Category
American Modern 2010s Paintings
Materials
Aluminum
OTR Plate 008 A Fecund Moment Printed On Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image.
16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called A Fecund Moment showing the tie of Marcus Garvey...
Category
American Modern 2010s Paintings
Materials
Aluminum
Mixed Media Painting by Steven Colucci- My eyes on you
By Andrzej Galek
Located in New York City, NY
Steven 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
Materials
Acrylic
Mixed Media Painting by Steven Colucci
By John Byard
Located in New York City, NY
Steven 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
Materials
Acrylic
OTR Plate 006 Floats Like An Obelisk Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image.
16 plates...
Category
American Modern 2010s Paintings
Materials
Aluminum
"Concept, " a Large Multi-Colored Abstract Painting by Kathi Robinson Frank
Located 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
American Modern 2010s Paintings
Materials
Acrylic, Paint
OTR Plate 014 Maelstrom Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image.
16 plates...
Category
American Modern 2010s Paintings
Materials
Aluminum
OTR Plate 010 French Inhale Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...
Category
American Modern 2010s Paintings
Materials
Aluminum
OTR Plate 009 Weapons Deep in the Vaccum Printed on Aluminum
Located in Brooklyn, NY
This plate comes from the book on the rock published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...
Category
American Modern 2010s Paintings
Materials
Aluminum
OTR Plate 002 Grey Targets Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...
Category
American Modern 2010s Paintings
Materials
Aluminum
Mixed Media Painting by Steven Colucci- Two Men
By Jeff Koons
Located in New York City, NY
Steven 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
Materials
Acrylic
My eyes on you -Mixed Media Painting by Steven Colucci
By Jackson Pollock
Located in New York City, NY
Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied.
Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin.
If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity.
Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.”
As our bodies, like the sea, are largely water, Colucci’s water visions...
Category
2010s Paintings
Materials
Acrylic
OTR Plate 001 Classic Black Printed on Aluminum
Located in Brooklyn, NY
This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image.
16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called Classic Black showing a collage of the interior of
the Seagram's build in the perspective style of Mies Van Der Rohe. Each plate is related to a scene and some lines from the book.
Plate 001: CLASSIC BLACK "The floor is smooth as a Japanese sharpening rock, a composite of volcanic ash...
Category
American Modern 2010s Paintings
Materials
Aluminum
Mixed Media Painting by Steven Colucci, Sea Series
By Jackson Pollock
Located in New York City, NY
Steven 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
Materials
Acrylic
Mixed Media Painting by Steven Colucci
By Jackson Pollock
Located in New York City, NY
Steven 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
Materials
Acrylic
Flower by Caroline Rennequin 2021 Gouache on Handmade Indian Paper
Located in Santa Gertrudis, Baleares
In 2020, Caroline Rennequin painted 350 flowers. Including a series of 301 gouaches on handmade Indian paper, in a work that narrates the aesthetics of the feminine and its relationship with nature, which she endlessly colors with a living palette.
Flowers with rounded and feminine contours, influenced by the 1970s. She uses gouache, an impulsive and immediate technique. A sometimes childish vocabulary in the gesture, without being regressive. Her artistic work revolves around her relationship to nature, whether real or fictitious.
This work has been shown for the first time in October 2021 at Galeria Tambien...
Category
French Other 2010s Paintings
Materials
Plywood, Parchment Paper
Hand-Painted Antique Tin Panel of Castle Along a River by Mladen Novak
Located in New York, NY
Original acrylic portrait painting on recovered antique ceiling tin by European artist Mladen Novak. Tin panel may have a few chips in the paint h...
Category
American 2010s Paintings
Materials
Tin
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