Houston - Abstract Prints

Emily Joyce The Third of May, Grey, 2013 5 color screenprint on BFK Rives 25 x 18 inches edition of 10, signed and numbered (printed by Gray Area Print, Los Angeles) there ar...

Contemporary photograph on collotype by Houston, TX artist Delilah Montoya. Photograph shows a young woman with long, dark hair with both arms stretched to the sides while surrounded by lit candles. Her back faces the camera as she faces a wall with graffiti. The scene is reminiscent of Jesus on the cross. Titled, signed, and dated by artist. Framed and matted in a red and gold wooden frame. Dimensions Without Frame: H 17.25 in. x W 16.13 Artist Biography: Although she was born in Texas and lived in Nebraska into her twenties, photographer and printmaker Delilah Montoya has deep roots in northern New Mexico through her mother's family. Raised by her mother, Montoya observes that women have empowered her family for five generations. Montoya studied photography and printmaking at the University of New Mexico, where she received her bachelor's degree, master's degree, and master of fine arts. She works in a variety of two-dimensional photographic and printing processes as well as creating larger installations. The artist describes her approach as postmodernist and uses documentary strategies to interpret her own distinct vision. Politically, Montoya is committed to exploring issues of identity in terms of a Chicano cultural context:"In my own evolving ideology I question my identity as a Chicana in occupied America, and articulate the experience of the minority woman. I work to understand the depth of my spiritual, political, emotional and cultural icons, realizing that in exploring the topography of my conceptual homeland, Aztlan, I am searching for the configuration of my own vision. " (Montoya n.d.) Montoya is committed to the expression of Chicana experience and history, but she does not consider herself as a feminist. Indeed, Montoya rejects identification as a United States-style feminist because she believes that "Feminists don't give us solidarity. As a Chicana my issues are multifaceted, not just gender, but class, race. " The border, for Montoya, is a politically imposed construct, a part of a United States colonialist enterprise that was forced upon the Chicano community. It is the environment in which Chicano life and history unfolds. Montoya's work explores contemporary and historical issues, sometimes win a humorous twist. Her artist's book for the 1992 Chicano Codices exhibition organized by the Mexican Museum in San Francisco, Codex Delilah: a Journey From Mechica to Chicana (including text by poet Cecilio Garcia-Camarillo), traces the imaginary journey of Six Deer, a character who embodies the contact between indigenous and Spanish culture in her trip "pal norte" towards Aztlan, the "spiritual homeland of her ancestors." As she journeys to the north, the character also journeys forward in time, meeting important Chicanas from the past, including La Llorona...

Emily Joyce The Third of May, Blue, 2013 2 color screenprint on BFK Rives 25 x 18 inches edition of 10, signed and numbered (printed by Gray Area Print, Los Angeles) there ar...

Emily Joyce Third of May, Red, 2013 3 color screen print on BFK Rives 25 x 18 inches edition of 10, signed and numbered (printed by Gray Area Print, Los Angeles) there are 6...

"Basketball," Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Offset lithograph of the design for the "And then all that divided them merged” banner that was used to promote Judy Chicago's iconic work "The Dinner Party" which featured 39 intric...

This large monotype print effectively portrays Bert Long’s iconic style. Furnished with his notorious abstracted eye and gestural style, this work demonstrat...

This large monoprint demonstrates Bert Long’s affection for introspection. Referring to the paint as both an action and an object underscores the fluidity of...

Elongated forms become seed-like, with glowing energy of life at the center. We are reminded of the interactions in nature, that all things are constantly changing, rising and fallin...

Elongated forms become seed-like, with glowing energy of life at the center. We are reminded of the interactions in nature, that all things are constantly changing, rising and fallin...

Elongated forms become seed-like, with glowing energy of life at the center. We are reminded of the interactions in nature, that all things are constantly changing, rising and fallin...

Phatyos experiments with the mounted form of the Thai pagoda (stupa), which was originally derived from a pile of ashes, the burial site of a sacred person. Through the tangible pago...

The texture, light and movement of this mounded, pagoda-like form gives an impression of stability, yet in motion, and calls us to contemplate the nature of the stone. Artist Detai...

Elongated forms become seed-like, with glowing energy of life at the center. We are reminded of the interactions in nature, that all things are constantly changing, rising and fallin...

Phatyos experiments with the mounded form of the Thai pagoda (stupa), which originally derived from a pile of ashes or the burial site of a sacred person. Through the tangible pagoda...

Phatyos experiments with the mounded form of the Thai pagoda (stupa), which originally derived from a pile of ashes or the burial site of a sacred person. Through the tangible pagod...