Hudson - Art

archival pigment print 24 x 24 inches unframed This contemporary, surrealist style photograph was printed by the artistic duo, Kahn & Selesnick, in 2010. The print is part of their 'Mar: Adrift on the Hourglass Sea' series which features deserted landscapes in outer space. In this image, a mysterious and otherworldly mechanism floats through the Martian landscape. It is unknown who or what is operating it. With this imagery, the artists entice an imaginative narrative where the viewer is left to conjure up their own story. About the series: "Mars: Adrift on the Hourglass Sea" is Kahn and Selesnick’s first project to feature a female protagonist; a woman finds herself alone in a wasteland that appears to be Mars. It is uncertain how she arrived in this place, via spacecraft, through a fold in the space-time continuum or perhaps the landscape is a mental projection. Either way, it is clear that she has escaped an unnamed catastrophe on Earth. In a series of hallucinatory episodes she simultaneously explores the planet and builds a mock-life for herself from a combination of high-tech and stone-age materials. Mars is revealed to have ruined artifacts and monuments from a previous, or perhaps future, civilization. The remains of massive stone listening devices are littered about the landscape, leading us to wonder: is this a colony that has collapsed and lost touch with earth? How did its occupants become stranded? Or are these the nocturnal imaginings of a post-apocalyptic survivor? About the artists: The ultimate storytellers, who have been showing with Carrie Haddad Gallery for more than 20 years, are Nicholas Kahn and Richard Selesnick...

16 x 16 x 2 inches encaustic on square wood panel HOSTESS is an abstracted painting in rich encaustic (pigmented wax) on wood panel. A dark, cross-hatched pattern is overlaid with ...

"Clouds, from all sides now, 2025" Cohn delves into the enigmatic qualities of clouds—how they symbolize both the fleeting and the eternal. Cloud illusions are a sensory journey t...

Black and white landscape drawing of country forest with hints of green pastel charcoal and carbon on Arches paper 8 x 10 inches un...

Colorful, Maximalist style floral still life photograph of pink, green, yellow, and cream colored flowers and succulents Archival digital print, made to order 40 x 40 inches, editio...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

Bright, Maximalist style still life photograph of purple and green flowers and yellow lights against a black background Archival digital print, made to order 24 x 24 inches, edition ...

5" X 30" X 1", six panels, each panel is 5 x 5 x 1 inches each acrylic on panel monochromatic painting, multi-panel abstract painting, grid, small panel painting, green and blue ...

Gestural abstract expressionist painting on archival paper mounted to panel with gold and silver metallic powders and accents of blue, mauve, and teal enamel paint "Involved and Obsc...

Watercolor on paper

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, including The Hunderton Art Museum, Clinton, NJ (2014), the Rosenfeld Gallery, Philadelphia, PA (2013); Therese A. Maloney Art Gallery, College of Saint Elizabeth, Morristown, NJ; group shows at SEFA; and Butters Gallery, Portland...

Rockface 27 by Andrew Buck archival pigment print, edition of 5 44 x 44 inches framed Print is dry mounted without glazing (no glass). Black metal frame is approx 1/2 inch face widt...

Portrait of Dave Winfield Edward Avedisian 20 x 14 inches, acrylic on stretched canvas Armenian-American artist, Avedisian was best known for his work made in New York City during the 1960s: brilliantly colored, boldly composed canvases that combined Minimalism’s rigor, Pop’s exuberance and the saturated tones of Color Field painting. He was largely recognized for a series of Beach Ball paintings that emerged in the early 1960's and into the later 1960's the artist began painting larger horizontal paintings, featuring vertically intersecting beacon-like stripes that highlighted characteristics from both the Post-Painterly and Color Field movements. In this portrait, Avedisian using his signature use of color, combining bright rusty reds and oranges against a metallic green gold backdrop. A major work from Avedesian's color-stripe series was featured on the cover of Artforum's January 1969 issue (pictured here). Also pictured are photographs of the artist c. 1970 in his studio in New York City and catalog pages from Avedisian's inclusion in the American Painting Now Expo at the Institute of Contemporary Art in Boston, MA in Dec 1967 - Jan 1968. The exhibition, organized by art critic Alan Solomon, featured one of Avedisian's signature Beach Ball paintings alongside large works by Robert Motherwell and Jim Rosenquist. About the subject: Dave Winifield is American former Major League Baseball right fielder born in 1951 and who played for six teams (San Diego Padres, New York Yankees, California Angels, Toronto Blue Jays, Minnesota Twins, and Cleveland Indians) during his 22 year long career. He had the winning hit in the 1992 World Series with the Blue Jays over the Atlanta Braves. Winfield retired in 1996 and was elected to the Baseball Hall of Fame in 2001, in his first year of eligibility. About the Artist: In the 1960’s, Edward Avedisian was one of the youngest of those luminaries producing a grand new abstract painting. Shown first at Ivan Karp and Dick Bellamy’s Hansa Gallery and then at Robert Elkon, Avedisian’s insouciant mix of pop playfulness, color field cool and high formalist style put his art in a unique, and at the time generously rewarded, position. Paintings made it onto the cover of Artforum, were purchased by all the major museums, were among the few abstract works shown as representative of America’s post-war achievement at Expo 67 in Montreal and comprised a cornerstone in histories of the period written by Barbara Rose, among others. The artist was largely influenced by his Color-Field predecessors, Mark Rothko and Barnett Newman. Throughout the 1960's and into the mid 1970's the artist was celebrated in the Manhattan art scene, contributing to the Post-Painterly Abstraction movements with contemporaries Helen Frankenthaler, Andy Warhol, Jules Olitski, and Larry Poons. Museum Collections: Albright-Knox Art Gallery, Buffalo, New York Brooklyn Museum, New York Chrysler Art Museum, Norfolk, Virginia Denver Art Museum, Colorado Flint Institute of Arts, Michigan Jack S. Blanton Museum of Art, Austin, Texas The Larry Aldrich Museum, Ridgefield, Connecticut Metropolitan Museum of Art, New York Minneapolis Institute of Arts Minneapolis Society of Fine Arts Neuberger Museum of Art, State University of New York, Purchase Los Angeles County Museum, California Neuberger Museum, SUNY, Purchase, New York Parrish Art Museum, Water Mill, New York Solomon R. Guggenheim Museum *above description text is supported by Alexandra C. Anderson's article on Edward Avedesian in Artforum's January 1969 issue. NY Times Obituary, published Aug 23, 2007 by Roberta Smith: Mr. Avedisian was best known for his work in the 1960s: brilliantly colored, boldly composed canvases that combined Minimalism’s rigor, Pop’s exuberance and the saturated tones of Color Field painting. A frequent motif was a cluster of bright seedlike orbs corralled at the center of a vibrant monochrome field by larger rings of color, creating an image that could resemble a buoyant cross-section of some unknown fruit. Mr. Avedisian was born in Lowell, Mass., in 1936 and studied art at the Boston Museum School. By the late 1950s he was living in New York, part of a generation of promising young painters that included Frank Stella, Larry Poons and Darby Bannard. From 1958 to 1963 Mr. Avedisian had six solo shows in New York galleries, including two at the Robert Elkon Gallery, where he continued to show almost every year until 1975. By the early 1960s Mr. Avedisian was a rising star. During that decade, his work appeared on the cover of Artforum, in “The Responsive Eye” exhibition of Op Art at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought by collectors and acquired by major museums in New York and elsewhere. In the mid-1970s Mr. Avedisian moved to Hudson and became less visible. His paintings soon began shifting toward representation; he took to calling his abstract paintings “a period style.” But he continued to be well served by his feeling for color, scale and surface. His landscapes described his surroundings in blunt, flat shapes and singing hues reminiscent of those of Marsden Hartley and Paula Modersohn...

Nautical color still life photograph of blue and orange buoys on a white background archival pigment print, edition of 10 20 x 20 inch paper size with 16 inch diameter image size This contemporary nautical still life photograph was made by Hudson Valley based photographer, David Halliday. The image of colorful fishing buoys...

Minimalist landscape photograph of black and white waterlilies "Summer Lilies", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1700. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Minimalist landscape photograph of black and white lilies on water "Dusk Lilies", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds and nearby trees are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1800. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Gestural abstract painting on paper with accents of blue, dark gray, and teal underneath silver and gold metallic powders "Seeing the Past", made in 2022 by Hudson Valley painter, Br...

Tree and Pond, Ghent NY, 2018 pigment print on watercolor paper, signed dated and numbered on face 20 X 24, edition of 25 $2,500.00 also available in 13 x 16 inches, edition of 25 $1,500 This Black and White Sepia-toned print of a pond in upstate New York was taken by photographer, James Bleecker. The rural scene depicts a leafy tree streaming with sunlight. The pond in the background is surrounded by trees and reflects some of the golden light. Artist Statement: These photographs span the last decade of nearly four that I have worked in the Hudson River valley. While I have photographed landscapes, towns and cities, I have chosen a selection of rural scenes for this show. All are in Columbia County except “Allee,” (Tuxedo Park) and Quimby Farm (Marlborough). My photography spans four decades of living in the Hudson River Valley. While my Dutch ancestors settled here early - Bleecker and Verplanck are common place names - I don't know what, if any, pull that fact exerts. Certainly I'm attracted to the layers of time exposed here; in ancient stone walls, leaning barns, faded mansions and mill towns. The valley exudes boom and bust, love and leavings. About the Artist: James Bleecker photographs the landscapes and architecture of his native New York State. Since 1983 his work has spanned independent fine art photography and commercial architectural photography. Much of his work has been commissioned by museums and historic preservation groups in the Hudson River valley. About James’s work, Edgar Munhall, Curator Emeritus of The Frick Collection, has written, "James's work is powerful and mature. Rigorously composed and technically perfect, his photographs can reduce you to tears by their beauty." Collections: Berkshire Museum Barry Diller...

25 x 55 inches horizontal, monochromatic lavender purple landscape acrylic painting on canvas This contemporary, horizontal landscape acrylic paintin...

Watercolor on archival paper 23 x 17 inches in white-painted custom wood frame with 8ply mat 19 x 13 inches unframed This whimsical watercolor drawing on archival paper was made by the creative duo Nicholas Kahn & Richard Selesnick as part of their series "Madame Lulu's Book of Fate", wherein the artists celebrate the carnivalesque with a cast of peculiar costumed characters. In this illustration, a cluster of sienna-colored buildings are stacked in the shape of a human figure. Surrounded by a spring-green landscape and bearing flowers--a pale yellow sunflower in one hand, and a bouquet in the others--the figure appears gentle despite its colossal size. The artists' highly stylized approach adds an almost vintage...

Large panoramic landscape photograph of the Freedom Tower at night One World Trade Center #11 by James Bleecker 50 x 100 inch sheet size, edit...

Figurative abstract style black, white, and blue acrylic painting of the Greek Goddess, Nike, "Winged Victory of Samothrace" with an antique wood f...

Large, photo-realist painting on canvas featuring a crimson red and yellow industrial boatyard lift against a bright sky blue background 47 x 31 x 2 inches oil on canvas, thin wood stripping signed verso, "Joseph E. Richards" Hangs with wire installed on the back This precisely detailed photo-realist painting was made by Joseph E. Richards in 2001. The artist painted this piece when he was 71 years old during a long career of painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, industrial cranes. With a photo-realist approach to the subject, Richards was able to capture detailed changes in light and shadow, shape and form. The red and yellow crane, painted with extreme detail and focus, vividly contrasts against a bright blue sky. Areas of brown rust, attesting to the machine's power and longevity, are captured with immaculate precision. Since the painting has a very smooth surface, one could easily mistake this painting with a photograph. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with pre-installed wire. The artist's signature is located on the back of the canvas. About the artist: Joseph Richards’ precisely painted canvases of giant cranes, cargo booms, propellers and train engines are fueled with a fascination like that of a six-year old boy. Working directly from photographs, Richards unites light and color together as one element, evident in the reflective surfaces of steel. The otherwise mundane signs of corrosive wear are magnified; rust stains glow on the canvas and yellow painted pulleys radiate like beacons against a bright, blue sky. Richards finds beauty in their dramatic color, resilient texture, definitive form and functionality. Richards paints sections of these objects in grand scale, with canvases up to 6 feet long and eye-popping color, calling attention to their massive proportions and exceptional strength. Richards had solo exhibits in New York City, Scottsdale AZ, and Washington DC, and his work is found in private and corporate collections here and abroad, e.g., the Tucson Museum of Fine Arts, Mobil Oil, Lankenau Hospital in Philadelphia, and E. Jean Belloni in Geneva, Switzerland. Resume: Born in 1921 in Des Moines, Iowa, Joseph Richards left for Chicago after high school to pursue a career in art. After serving in the U.S. Navy from 1942 – 1945, he went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia. He eventually settled with his wife, Betty, in New York City. In 1969, longtime dealer Ivan Karp opened The OK Harris Gallery on West Broadway in Manhattan’s SoHo. Karp was at the forefront of the Photorealism movement, showing artists such as Duane Hanson and Manny Farber...

chalk on vintage collaged paper from a book of fables Artwork measures 60 x 32 inches 65. x 35.5 inches framed, deckle edge paper is floated in n...

archival inkjet print on watercolor paper 10 x 13 inches unframed 2016 Photographed in Maine, this black and white archival pigment print by Betsy Weis captures a trees in a meadow. The serenity of the sky and grassy meadow in soft grays are contrasted by the leafy tress in the distance. This photograph is available unframed. The image measures 10 x 13 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Balance & Beam, Locus in Transit #2, 2021 by Jeanette Fintz 60 x 72 inches, acrylic on canvas Signed verso Hanging wire on reverse Balance and Beam - Locus in Transit #2 is a paint...

"Clouds, from all sides now, 2025" Cohn delves into the enigmatic qualities of clouds—how they symbolize both the fleeting and the eternal. Cloud illusions are a sensory journey t...

Large, photo-realist painting on canvas featuring a fire engine red and white industrial crane against a bright sky blue background 69 x 48 x 2 inches oil on canvas, thin wood stripping signed verso, "Joseph E. Richards" Hangs with wire installed on the back Excellent condition, ready to hang as is This precisely detailed photo-realist painting was made by Joseph E. Richards in 1992. The artist painted this piece when he was 71 years old during a long career of painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, industrial cranes. With a photo-realist approach to the subject, Richards was able to capture detailed changes in light and shadow, shape and form. The red and white crane, painted with extreme detail and focus, vividly contrasts against a bright blue sky. Areas of brown rust, attesting to the machine's power and longevity, are captured with immaculate precision. Since the painting has a very smooth surface, one could easily confuse this painting with a photograph. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with pre-installed wire. The artist's signature is located on the back of the canvas. About the artist: Joseph Richards...

Contemporary nautical seascape photograph of blue ocean waves in white frame 36 x 33 inches unframed, 41 x 38 inches framed Japanese Kozo paper infused with encaustic on 3 panels, ea...

oil on vellum 8 x 8 inches, 13.25 x 13.25 in white frame This work on paper is offered by Carrie Haddad Gallery, located in Hudson, NY. This modern, abstract blue and white painting...

Abstract painting in tones of deep blue, violet, forest green, and beige acrylic on canvas 36 x 36 x 1.5 inches white painted wood stripping covers all sides This contemporary paint...

White What's Left (Contemporary Abstract Painting with Colorful Paper Collage) 20 x 20 x 2 inches encaustic, collage on wood panel Signed on rev...

Abstract landscape painting of a white cloud in a light blue sky over a dark country field "Hayfield Two Thirty," painted by David Konigsberg in 2019 oil o...

Abstract still life photograph of a magenta cana lily flower on a white sky background Photograph printed on Japanese Kozo paper infused with encaustic Edition 1/12, 36 x 22.5 inche...

Forest Light, 2016 (Contemporary Impressionist Landscape in Watercolor ) by Susan Hope Fogel Abstracted landscape watercolor drawi...

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, light brown, with details of white and fern green "Passing Through #1", by Jeanette Fintz in 2018 60...

Watercolor on paper 32 x 25 inches framed

Panel with Snakes, Turtles, and Dove, 2010 54 x 20.75 inches, edition of 20 (Pictured Gallery view shown - 94 x 36 inches, edition of 15) archival digital print, unframed This conte...

60 x 72 x 1.5 inches acrylic on canvas being offered by CARRIE HADDAD GALLERY in Hudson, NY. Large, horizontal abstract painting with a palette of turquoise, saffron orange, teal an...

Abstracted floral still life color photograph, yellow magnolias in an abstract motif Archival digital print 24 x 24 inches, edition of 50 Print is unframed and made to order Addition...

Archival digital scanograph 27.75 x 20 inches, edition of 75 Additional sizes available This contemporary, archival digital scanograph was made by fine art photographer, Lisa Frank,...

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, incl...

Contemporary minimalist aerial landscape photograph of a plowed yellow field with dark blue shadow Archival digital print, Edition of 25 (#013) Image size 31 x 39 inches unframed, m...

Abstract landscape monotype of a large cumulus cloud in soft pink and periwinkle blue 12 x 12 inch image on 22 x 33 inch Rives BFK paper Rives BFK paper is made of cotton, has deckle...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20 CURRENT EXHIBITION - runs through May 6, 2018. Any framed photographs purchased during the show will be aft...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 5. CURRENT EXHIBITION - runs through October 30th, 2016. Any framed photographs purchased during the show wil...

Pictured is Edition #1/10 and is the framed price. This image is available also in the two other paper sizes unframed. British-born photographer Heal creates an image where her ...

David Saxe - “Photography has always been the simple act of looking and being inspired to strip the unnecessary elements from the scene and frame the image down in a way to discover...

The artwork measures 18" x 24", and the frame 25" x 29.5" x 1.75". Upon request a video clip of this work may be provided. About this artist: Julio De Diego crafted a formidable per...

Color pencil, ink pen and Chinese ink on wooden panel

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, incl...

17 x 21 inches framed

Acrylic and oil pastel on canvas

Oil Monotype Chine Collé on white BFK Rives Printmaking Paper Hand pulled by Artist on Etching Press Hand finished with Paper cuts, folds and Metal Leaf 29 x 29 inches framed This p...

Abstract modernist, minimal, Brancusi inspired three dimensional wall sculpture in light grey. Made of carved high-density foam, epoxy resin, pigment and gypsum cement. Despite it's ...

Abstract geometric, minimalist three-dimensional wood wall sculpture in blue and white "Blueprint of Chaos", hand-carved wooden wall sculpture by Hudson Valley artist, Stephen Wallin...

This piece is featured in Bruckner’s 2024 solo exhibition at Susan Eley Fine Art titled, “Keeping Memories”. Artist Biography: Karin Bruckner was born in Zurich, Switzerland and...

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, incl...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in var...

oil on wood