Missouri - Art

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Stanley Jones Title: Madron Year: 1970 Medium: Lithograph on BFK Rives Edition: 43/65 Signed in Pencil Size: 26 x 20 inches Publication: From portfolio Europaische Graphik VII, Ed. B...

"Composition I", 1984 (India) ink Signed and dated by hand Edition: Unique Size: 15.2 × 21.5 on 18.7 × 25.2 inches COA provided *Black Frame made from Composite Wood WITHOUT plex inc...

After months of isolation during the pandemic, Craig Albright and his 11-year-old daughter started a daily tradition of an afternoon drive. When online classes came to a close each d...

Stephan Küthe Untitled IV Giclée on Hahnemühle Velvet Year: 2021 Signed, numbered and dated by hand Edition: 15 Size: 13.0 × 19.5 on 18.3 × 23.8 inches COA provided (gallery issued) ...

John Marak 12x12-07-12-2021 Plaster, Acrylic Year: 2021 Size: 12x12 in Signed by hand COA provided ------------------------------------- John Marak is a second-generation artist b...

Jack Hayhow Title: Faces Medium: Print on Ppaer Year: 2020 Size: 24x16 inches Description: Available in multiple sizes - please inquiry within Edition: 10 Signed by hand COA provide...

Jack Hayhow Title: Love Bench 2 Medium: Print on Paper Year: 2017 Size: 16 x 24 inches Description: Available in multiple sizes - please inquiry within Edi...

Aluminum

Edition: 25 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided In Sherman's photographs she is experimenting with groupings of ...

Title : Smug Materials : Stamp,xerox transfer,pastel,ink Date : 2015 Dimensions : 8×9″ COA provided Art school took Olivia Gibb away from Oklahoma and up to Kansas City, which she h...

Signed by the artist, Edition 16/75 Dennis Oppenheim (September 6, 1938 – January 21, 2011) was an American conceptual artist, performance artist, earth artist, sculptor and photogr...

After months of isolation during the pandemic, Craig Albright and his 11-year-old daughter started a daily tradition of an afternoon drive. When online classes came to a close each d...

Melanie Sherman Zierkarpfen (Koi) Year: 2016 Porcelain, China Paint, 24K German Gold Luster, Flocking Fired multiple times, Cone 6, Cone 018 Size: 1.25 x 16 x 7.75 inches Signed Exhi...

Joel Sager (1980) was born in Saint Joseph, Missouri, the son of a minister and a stay-at-home mother who fostered from an early age his love of drawing and painting. It was under the mentorship of prominent American illustrator Mark English...

Scott McMahon grew up in Connecticut and now resides in Columbia, Missouri where he is an Associate Professor of Art at Columbia College. He received his MFA from Massachusetts Colle...

Honey Thief, 2016 Medium: 5 Color Lithograph Edition: 27 Paper: Handmade HMP Waterleaf Paper Size: 24.5″ x 20.5″ (irregular) Image Size: 21.75″ x 13″ (irregular) COA provided On the...

Stephan Küthe Untitled VII Giclée on Hahnemühle Velvet Year: 2021 Signed, numbered and dated by hand Edition: 15 Size: 13.0 × 19.5 on 18.3 × 23.8 inches COA provided (gallery issued)...

Title: The End of the Rainbow Medium: Mixed Media Year: 2018 Signed Size: 19 x 13.25 x 8 inches Tom Binger finds it interesting that during a time in which the internet is quickly b...

Mixed media Year: 2009 Signed and dated by hand Size: 23.0 × 16.4 on 28.3 × 20.3 inches COA provided Solo exhibitions (selection) (K)=catalogue (B)=artist book 1992 GO -TO, WMF-Haus/Leipzigerstrasse, Berlin 1995 ÖL,ÖL,ÖL, Croxhapox, Gent, Belgium 1995 COOKIE PARK, Wiens Laden, Berlin (B) 1997 QUIT, Museumsakademie, Berlin (B) 1998 HEAVEN HAS HOLES, Boekie Woekie, Amsterdam, Netherlands 1998 QUALITY STREET, Eine Vitrine, Stiftung Bauhaus Dessau (B) 1999 HEAVEN HAS HOLES, Galerie Barbara Wien, Berlin 1999 0,0 TOTAL, Museum Folkwang, Essen (B) 2000 0,0 TOTAL, Galerie Barbara Wien, Berlin 2001 DOSENZIMMER/BERNSTEINZIMMER (room of cans / room of amber), mit Friederike Feldmann, Galerie Station, Mousonturm, Frankfurt a. M. 2002 MOTORGIRLS, Kunstbank, Berlin 2003 MOTORGIRLS, Galerie Thomas...

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

Title: Itsukushima Medium: Custom Archival Pigment Print on Archival Paper Date: 2019 Dimensions: 10 x 8 in. Signed, dated and inscribed on label COA provided Multiple Sizes Available (please inquire within) Framing Available (please inquire within) Born in Córdoba, Argentina, photographer Pablo Saccinto had a unique journey to discovering his passion for photography. Before he ever picked up a camera, Saccinto studied "Dramatic Arts" at the Royal Theatre, seminary by Jolie Libois and attended the National University of Cinema and Television whilst practicing figure skating as a hobby. However, Pablo wanted his dream to became a reality. In 2009 He decided to try out and audition for Disney On Ice. One year later, Saccinto became part of the magic. Since then He had the opportunity to participate in different productions of the company as Disney on Ice presents, “Toy Story 3", "Rockin’ ever after", "Let’s Celebrate", "100 years of magic", the big phenomenon "Frozen", and his current show "Dare to Dream", traveling to over 20 countries. Some of the roles Pablo portrayed were, Le Fou from Beauty and the Beast, Pinocchio, and Miguel from the movie Coco Disney/Pixar. It was through his career as a figure skater that Saccinto found new opportunities in his ever-changing surroundings. Traveling around the globe and seeing all the beauty that this world has to offer opened the door to pursue photography further. Traveling has opened his mind and inspires him to photograph different cultures and even allows him to get to know himself on a before unknown level. Contemporary, contemporary art, contemporary photography, travel photography, cities, Japan, Hiroshima, urban photography, street photography, fine art, architecture, architectural photography, black and white, black and white photography, nature, nature photography, photographers, travel, Edward Weston, William Eggleston, André Kertész, Frans Lanting, Berenice Abbott, Chris Burkard...

José Sierra is a self-taught artist and ceramicist, born in Mérida, Venezuela in 1975. His work draws inspiration from his heritage, along with pre-Hispanic art, East Asian pottery,...

Edition: 25 Signed, dated and numbered in ink on label affixed verso Other sizes available upon request COA provided In Sherman's photographs she is experimenting with groupings of ...

Limited Edition: 7 of 25 Signed, dated and numbered in ink on label affixed verso COA provided In Sherman's photographs she is experimenting with groupings of different objects wit...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Marie Thérèse Vacossin Le Collier de Lussie Color etching on hand-made paper Year: 1971 Signed, numbered, dated and titled by hand Edition: 8 Size: 8.3 × 11.6 on 22.0 × 14.8 inches ...

Peter Paul "Peter Paul" (III) From Portfolio "Portrait #14 - Peter Paul" with Karin Szekessy Year: 1973 Medium: Phototype (Lichtdruck) Edition: 80 Size: 25.59 x 19.88 in. Publisher: ...

Gwuf Shuffle Shuffle Squeak Taka Whir Zoom Photographed in a hutong neighborhood, Beijing, China Archival Pigment Print Year: 2010 Size: 8" x 60" Signed by the artist

For those not already acquainted: Stephen Gammell, in addition to being a very prolific studio artist, is also a great teller, appreciator, and illustrator of stories. For one so con...

Artist: Ryan Wilks Title: The Lovers Medium: paper on Arches Paper Year: 2020 Size: 22" x 30" Description : "The Lovers"was done using only an X-acto knife ...

Hans Juergen Diehl "The Golden Egg", 1972 Etching Edition: e.a.3 Size: 33 ½ x 25 ½, Signed in pencil, Ketterer Hans-Jürgen Diehl (born May 22, 1940 in Hana...

HELEN DEMOTT Black Night 1946 Tempera on Strathmore board 14 x 11 inches Framed: 21.25 x 18 inches

Jean-Marie Guiny "Les Printemps D'Uranus Cheval" Lithograph Signed and numbered by the artist Edition: H.C. Size: 19.5 x 25.75 inches

Reiner Schwarz (Partial) Portfolio "Portrait #11 - Reiner Schwarz"" with Karin Szekessy 3 x Color Lithographs (Folio issued with 4 lithos, of which one is missing) 3 x Phototypes (Li...

Katherine Bello Title : Quietly Waiting Materials : mixed media on canvas Date : 2020 Dimensions : 24"x24"x1.5" Signed and Dated by Hand COA Provided Katherine Bello's aim as an art...

Reiner Schwarz "Selbstbildnis (huendisch)" From Portfolio "Portrait #11 - Reiner Schwarz" with Karin Szekessy Year: 1972 Medium: Color Lithograph Edition: 100 Size: 23.9 x 16.6 in. P...

Peter Paul "Peter Paul" (II) From Portfolio "Portrait #14 - Peter Paul" with Karin Szekessy Year: 1973 Medium: Phototype (Lichtdruck) Edition: 80 Size: 25.59 x 19.88 in. Publisher: D...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Ben-Zion Ruth 3: 7-8 (Ruth & Boaz) From Ruth-Job-Song of Songs portfolio, Plate III (Curt Valentin, New York: 1954) Etching, aquatint Edition: 65 Size: 18 x 22 inches Publisher: Curt...

Artist : Susan Kiefer Title : Sage Materials : oil on canvas Date : March 2020 Dimensions : 18" x 24" x 1.5" Description : Tangents from three intersecting circles in shades of cadm...

Tim Trantenroth (* 1969) Title: Police car Giclee on linen Year: 2019 Signed and numbered by hand Edition: 25 Size: 16.0 × 21.5 on 18.1 × 23.8 inches C...

Hans Jurgen Diehl Kohlkoepfe Year: 1971 Medium: Color Etching Edition: 10 Size: 33.5 x 25.5 in. Publisher: Ketterer, Germany Signed, numbered and/or titled Hans-Jürgen Diehl was bor...

For those not already acquainted: Stephen Gammell, in addition to being a very prolific studio artist, is also a great teller, appreciator, and illustrator of stories. For one so con...

Artist : Susan Kiefer Title : Love in the Elysian Fields Materials : oil on canvas Date : March 2020 Dimensions : 40" x 30" x 1.5" Though born and raised in Kansas City, a...

Artist : Susan Kiefer Title : Cross Currents Materials : oil on canvas Date : February 2020 Dimensions : 30" x 40" x 1.5" Description : Intersecting oval forms in turquoise and rust...

Contemporary, Figurative, Ceramic, Sculpture, Satire, Humor, Alessandro Gallo “Animals carry strong associations that make them ideal in portraying, sometimes humorously, our basic ...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Bernd Berner Title: Untitled Gestural Abstraction Year: 1971 Medium: Color lithograph Edition: X + 50 Size: 19.5 × 17.3 on 25.4 × 19.5 inches COA provided

Monogrammed by hand Publisher: Griffelkunst Hamburg Condition: in mint condition Size: 11.5 × 8.6 on 15.4 × 12.5 inches Thorsten Brinkmann was born in Herne, Germany in 1971. He studied Visual Communication at Kunsthochschule Kassel and Fine Arts at Hochschule für Bildende Künste, Hamburg. Brinkmann is known internationally for his unconventional photographic portraits and still lifes, featured recently in T: The New York Times Style Magazine article, “Witty Photos That Play With Centuries-Old Artistic Tradition” (September 2015). Brinkmann has had solo exhibitions in Belgium, Germany, and Mexico. His work is represented in museums throughout Europe and was included in Beyond Borders, The Fifth Beaufort Triennial, Belgium (2015); and Dress Codes: The Third ICP Triennial of Photography and Video, International Center for Photography, New York (2009). Following his 2012 residency at The Andy Warhol Museum, Pittsburgh, Pennsylvania, Brinkmann undertook La Hütte Royal, a yearlong installation project of transforming a dilapidated house in the Troy Hill area of Pittsburgh into a permanent artwork. A self-proclaimed serialsammler (“serial collector”), Thorsten Brinkmann keeps whatever catches his eye as he sifts through the broken and discarded items sitting in purgatory on thrift store shelves...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender-neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This, of course, can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form, they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Wabaunsee County, KS (2014) Print on Coated Fiber Paper Edition 12 of 25 Image Size: 24 1/2" x h 16 1/4" As an observer of the world, Aaron Henry has found a humbling awe across l...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition ...

Reiner Schwarz "Reiner Schwarz" (II) From Portfolio "Portrait #11 - Reiner Schwarz" with Karin Szekessy Year: 1972 Medium: Phototype (Lichtdruck) Edition: 100 Size: 26.4 x 20.1 in. P...

Paul Wunderlich From Portfolio "Twilight" with Karin Szekessy Year: 1971 Medium: Color Lithograph Edition: 125 Size: 33 x 25 in. Publisher: A.A.A., New ...

Hans Juergen Diehl "Protest:" 1972 Etching Edition: 19/25, Size: 33 ½ x 25 ½, Signed in pencil, Ketterer #5 Hans-Jürgen Diehl (born May 22, 1940 in Hanau ) is a German painter of th...

Bai Ming, is a famous contemporary ceramic artist and painter born in September 1965 in Yugan, Jiangxi Province of China. •Director of the Department of Ceramic Art in the Academy of Arts & Design of Tsinghua University. •Executive Vice Director of the Art Museum in the Academy of Arts & Design, Tsinghua University •Member of the International Academy of Ceramics (IAC) of UNESCO. •Secretary-General of the Ceramic Art Council of China Artists Association (CAA). •Deputy Director of Ceramic Art Institute，China National Academy of Painting. •Member of China Oil Painting Society (COPS). •Art Director of China Ceramic Art Net...