New York - Contemporary Art

Lateral Thinking: Art Of The 1990s by Toby Kamps. Museum of Contemporary Art, San Diego, 2002. Kamps is the curator of the Museum of Contemporary Art, San Diego. First edition softcover. Lateral Thinking assesses the artistic achievements of the 1990s, concentrating on works by 40 contemporary artists from North, South, and Central America, Cuba, Africa, China and Europe. These include: Matthew Barney, Vanessa Beecroft...

Accent size Persian Kilim from the late 20th century with what looks like a colorful horse surrounded by small trees on a dark ground color Measures: 4'3'' x 7'2''. This was origin...

Picasso and the Age of Iron by Carmen Gimenez, Curator; Essays by Dore Ashton and Francisco Calvo Serraller. Published by Solomon R. Guggenheim Museum, New York, 1993. 1st Ed Exhibit...

Vintage 1980s Fairgrounds sign in a unique and bold oxblood base color with white font. Eye catching and fun, this piece has the trappings of Americana wall art...

Wang Yan Cheng by Wang Yan Cheng. Published by Acquavella Contemporary Art, Inc., New York, 2019. 1st Ed Hardcover Exhibition Catalog with dust jacket. ...

Samson Young: Silver Moon or Golden Star, Which Will You Buy Of Me? by Orianna Cacchione, G. Douglas Barrett and Seth Kim Cohen. Smart Museum of Art, Unive...

Contemporary Italian Claudio Granaroli abstract water colors. Signed by artist born 1939. Newly framed. From a collection of four. See images #4, P1410B #5, P1410A #6,P1410.

Jiha Moon Double Welcome, Most Everyone's Mad Here, by Mark Sloan, Amy Moorefield & Lilly Wei. Halsey Institute of Contemporary Art, 2016. First edition hardcover with dust jacket. Exhibition Dates: January 21—April 30, 2017. Based in Atlanta, Georgia, Jiha Moon (Korean, born 1973) harvests cultural elements native to Korea, Japan, and China and then unites them with Western elements to investigate the multi-faceted nature of our current global identity as influenced by popular culture, technology, racial perceptions and folklore. Featuring over 50 works, Moon blurs the lines between Western and Eastern identified iconography such as the characters from the online game Angry Birds and smart phone Emojis which float alongside Asian tigers...

Description Late 20th Century Persian Kilim with a yellow rhinoceros on a colorful checkered field. Details rug no. r5698 size 4' 11" x 6' 11" (150 x 211 cm) This was originally b...

Kathy Robinson Frank, Concept 2022 A commanding large-scale abstract painting by New York-born artist Kathy Robinson Frank, Concept 2022 layers deep violets, ochres, and metallic go...

Antoni Tapies: Lo Sguardo Dell'artista by Antoni Tapies, Walter Hartsarich and Daniella Ferretti. Publisher MER. Paper Kunsthalle, 2014. 1st Ed Exhibition catalog hardcover. Antoni T...

Abstract Square size Persian kilim from the late 20th century within an elephant's face Measures: 3'3'' x 4'5''. This was originally belonging to a private Persian collector wh...

Painting, oil in cardboard, signed H Scheiber (Budapest 1873- 1950). Hugo Scheiber was born in Budapest in 1873. At the age of eight, he moved with his family from Budapest to Vie...

1930s Dutch school of art abstract painting. Signed by artist STM. Newly framed art floating on linen backing. From a large collection of work.

Contemporary New York artist Peter Buchman's 'Star Wars' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the a...

Powerful, contemporary urban realism by local Philadelphia artist, Christopher Windle. Oil on canvas, 2016. Measures: 35" x 48".

Three wall objects designed as a triptych by the German artist Willi Siber. The upright rectangular individual works are made of MDF with interference varnish and milled into the s...

Untitled Print A2 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

An expressive and graphic vintage serigraph depicting an abstracted group of red-wing blackbirds in flight. Signed in pencil by the artist.

Untitled Print B2 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

Rare silk Courrèges scarf of the most famous monument in Paris, France. Set in a modern espresso teak box frame. Andrianna Shamaris. The Leader In Modern Organic Design.

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Mid-Century abstract oil painting from an Hampton's Estate, 66".

Nijinsky as the Faun Life-size painting by Lynn Curlee A portrait of the famous dancer, Vaslav Nijinsky in one of his most famous roles, As the Faun...

Print: Full color digital archival print on Epson Hot Press Natural 330g/m2 Size: 610 x 508 mm (24 x 20 in) Edition of 100 This work will come with a signed and numbered archival label adhered to the back of the print. (2019) Produced with the support of Kering, a global luxury group committed to the empowerment of women, this charitable limited-edition print is part of a portfolio celebrating Phaidon's Great Women Artists, the most extensive illustrated book on women artists ever published. The book tells the stories of over 400 artists spanning 500 years and reveals a parallel yet equally engaging history of art for an age that champions a great diversity of voices. The Great Women Artists print portfolio offers collectors the opportunity to acquire affordable works by some of the most celebrated and sought-after women artists of our time, while contributing to a worthy cause. A pioneer of the British Black Arts Movement of the 1980s and '90s, Lubaina Himid...

Joan Miro color plate lithograph from 1968, approximately 20 x 24" Professionally framed, includes certificate on frame back.

A black and white abstract painting, New York, 2015. The unsigned artwork/painting is on a wood canvas which can be positioned or hung by any of its sides giving the piece four diffe...

Nijinsky as Petrushka Original life-size painting by Lynn Curlee The famous dancer, Vaslav Nijinsky, as PETRUSHKA, one of his greatest roles. 1911. ...

Peter Astrom abstract expressionist paper collage entitled "The Bird Nest #1. Crafted with Japanese rice paper on Arche paper. Created in 1990 in ...

Framed Rug, Picasso's 'Guitar, Glass, and Fruit Dish' Decorative Art A wonderfully done abstract carpet in the manner of Picasso framed in a custom Luc...

"Two Birds," by artist Ted Weller, is a stunning example of Hyper-Realism in which the artist deconstructs nature to create a more powerful and exhilarating version of this otherwise...

Abstract gouache painting by American artist Shawn Savage. Shades of blue with grey and black in a black frame. Signed by the artist.

Framed, color screen-print on silk scarf. Untitled. 138/150. Measures: 37" W x 36.5" H.

Untitled Print A1 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

Original Signed lithograph titled "Shield" by James Carter. It also has a custom burled elm frame. This piece has been floated and features hues of teal, terra cotta, sea foam green,...

"Nature 1" by Peter Astrom, Swedish abstract expressionist painter. Acrylic paint and modelling paste on Arche paper Measures: Height 30 in x Width ...

Oil on canvas. Painting by Hans Speidel, Berlin. Speidel was among a group of painters known as the 'Neue Sachlichkeit' (New Objectivity). This betwee...

Post Modern master Sandro Chia carborundum etching or mezzo-print titled "Painter with Teddy bears" is signed and numbered 8 of 50. Produced between 1989-90 in New York City. The pri...

Contemporary New York artist Peter Buchman's "Hold On" is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series, in which the artist c...

Art glass organic sculpture, contemporary work of art by an American artist, who studied with some of the most esteemed glass Masters in Murano. The idea of setting free imagination and creativity is magically embodied through the medium of blown glass in the representation of soaring sparrows, flowing out freely on the wall, in textured colors, teal blue, white with copper gold sparkling metallic inclusions. This sculpture as a whole comprises 7 birds in the sequence...

Keith Haring Cover Art 1982-1989: A set of 3 1980s books featuring original (offset) cover design by Keith Haring during his lifetime: Keith Haring 1982 for The Paris Review. Keith Haring 1986 for Brion Gysin The Last Museum. Keith Haring for AIDS: TRADING FEARS FOR FACTS (Hein). Medium: Set of 3 individual vintage books with offset illustrated cover art. 1982-1989. Measuring approximately: 4 x 7 inches each; soft cover books; the full edition of each; bound. Each in good to very good overall vintage condition. Minor age related wear. Each, unsigned from an edition of unknown. Highly collectible. _ Keith Haring (b. 1958 Reading, PA): Keith Haring’s first major works were his subway drawings. Haring produced a large number of these public works between 1980 and 1985, integrating his motifs outlined figures into everyday public space in a way that directly engaged its viewers. Haring's 1st solo exhibition was held at Westbeth Painters Space in 1981 and a celebrated show debuted at the historic Tony Shafrazi Gallery in New York the following year. Throughout the 1980s, Haring was committed to democratizing the art experience and along with paintings, he also created theater sets, billboards, murals, advertising campaigns and even a line of Swatch watches. In 1986 he opened the Pop Shop in SoHo, selling apparel, posters and toys bearing his drawings. This was a controversial move, as many galleries criticized Haring for “de-valuing” the art object while others, such as Andy Warhol, championed Haring’s insistence on making art accessible and affordable. Pop Shop was highly influential to contemporary crossovers of art and merchandise that are now so dominant, as in the work of Jeff Koons, Yayoi Kusama, KAWS and Takashi Murakami. In addition to this ideology of accessibility, Haring was also very socially engaged and used his striking imagery to promote awareness of various political and social campaigns. His many notable public works included a mural on the western side of the Berlin Wall, the Crack is Wack mural in New York, and a mural for the 100th anniversary of the Statue of Liberty in 1986. Haring was diagnosed with AIDS in 1988 and used his presence in the arts community to raise awareness of the crisis. In 1989, a year before his death, he established the Keith Haring Foundation, whose mission is to raise funds for AIDS organizations and children’s literacy and arts programs. Since his death in 1990, Haring has become one of the most widely-recognized and celebrated artists of the 20th century. Related categories: Keith Haring 1982. Keith Haring book...

Keith Haring The Paris Review: 1982 The Paris Review book, with original cover design by Keith Haring. Offset lithograph on double sided art book. Measures approximately: 5.5 x 9 inches; soft cover. Approximately 50pgs. Minor age related wear; in otherwise very good overall vintage condition. 1st edition, 1st printing 1982. Unsigned from an edition of unknown. Highly collectible. Related categories: Keith Haring 1982. Keith Haring book...

Abstract Square size Persian kilim from the late 20th century depicting a pigeon within an elephants face Measures: 3'5'' x 4'2''. This was originally belonging to a private Persia...

"Fruit Bowl" acrylic on canvas, by Swedish abstract expressionist painter Peter Astrom, b. 1946. The monumental painting measures 5' x 5' , canvas is str...

Wing. An original painting by Lynn Curlee, author/illustrator of award winning children's books. The painting is acrylic on stretched canvas. The canvas is pulled around the edge...

Nijinsky in the Lezginka Original life-size painting by Lynn Curlee The great dancer Vaslav Nijinsky in one of his famous roles, 1909. This painti...

"Cathedral," is a large abstract painting featuring oil, oil stick and pastel on canvas. The warm brilliant shades of burnt orange, rust and magenta, tempered by the cream and gray g...

Gerson Leiber "Does This Painting Sport A Pulsating Surface?" Oil and Graphite on Linen, 2017 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later...

"Untitled 1", abstract expressionist photo collage print by Swedish artist Peter Astrom. Signed Astrom at bottom right margin, and New York 2010 bottom le...

The "Forêt de Lune" limited edition fine art print series marries the beauty of the art of chinoiserie with the lush forests of South East Asia. Each print features stylized scenes o...

"Summer Flowers In The Catskills", photo collage print by Swedish abstract expressionist artist Peter Astrom. This is the only print that was made by th...

Original Peter Astrom abstract expressionist painting entitled: Sea Creature #1 Acrylic paint and modelling paste on Arche paper H 30 in x W 22 in, Unframed Signed Peter Astrom low...

Peter Astrom abstract expressionist paper collage entitled, " Bird's Nest #2" Realized in 1990 in the artist's Water Street studio in New York City. Swe...

"Midsummer Blue", Swedish abstract expressionist watercolour collage painting on paper. Framed in white lacquered wood frame, measuring 41" length x 29.25" width x 1.25" depth. Painting measures 35.25" length x 24" width, unframed. Signed Peter Astrom...

.Nature #2, Swedish Abstract expressionist painting by Peter Astrom, c. 1994 Gotland, Sweden. Acrylic paint and modeling paste on Arche paper, signed l...

Contemporary urban realism by local Philadelphia artist, Christopher Windle. Light and shadow, along with graphic perspective conveys a moody solitu...

This 1960s French three dimensional wall sculpture is made up of four acoustic panels framed within one larger frame. The panels were originally from a...

Original Peter Astrom abstract expressionist painting entitled: Sea Creature #2 Acrylic paint and modelling paste on Arche paper H 30 in x W 22 in, Unframed Signed Peter Astrom lo...