420 results for "chuck close"

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Last Song: Beim Schlafengehen (Going to Sleep), was executed between 1985 and 2001. The masterfully conceived compos...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

Ross Bleckner (American, b. 1949) Untitled Graphite on Paper 13 3/4 x 11 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that o...

Ross Bleckner (American, b. 1949) Untitled, c. 1970 Watercolor on paper Sight size: 21 x 15 in. Framed: 31 2/3 x 25 3/4 in. Signed verso: Ross B/ho Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Ink and graphite on paper Largest: 23 1/2 x 17 1/4 in. Smallest: 22 7/8 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

This richly-hued screenprint depicts the ripped-open box packaging for Andre Champagne Cellars. On the side of the box is printed "Cold Duck," referri...

This is a proof print. signed and marked bat (for bon a tirer or good to print) This is a single print from 1998 Birds. Suite of eight Cibachromes. Edition of fifteen. 10″ × 10″. Mus...

"Rose Bouquet (Tenor) (2002)" by Aaron Fink (American, b. 1955) Signed, titled, and dated verso. Born in Boston, Fink received his BFA from the Maryland Institute College of Art and his MFA from the Yale University School of Art. His work has been exhibited widely throughout the U.S., Europe, Japan and Australia. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers, who remained a strong supporter of his work until his death in 1999. Fink’s work is represented in the collections of the Art Institute of Chicago, the Hara Museum, Tokyo, the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York and the National Gallery of Art, Washington, DC, among many others. Fink currently divides his time between Boston and Rockport, Massachusetts. Selected Group Exhibitions Contemporary Responses to Modernism: A New England Perspective, University of Southern Maine, Gorham, 2019, with Martha Armstrong, Ben Aronson, Gideon Bok, Sascha Braunig, Bernard Chaet, Susanna Coffey, Aaron Fink, Jon Imber, Dinorá Justice, David Kapp, György Kepes, Kayla Mohammadi, Jim Ritchie, Ann Weber Color and Line: Expressive Tradition in Boston, Endicott College, Beverly, MA, 2017 Boston’s unique approach to Expressionism by uniting works from the late 1930s to the present day through an examination of subject, process, and materials. Influenced by the teachings of German Expressionist Karl Zerbe, and the early work of Hyman Bloom and Jack Levine. Summertime 16: The Big Annual Group Show, Galerie Christoffer Egelund, Copenhagen, Denmark, 2016 Beautiful Decay, Danforth Art Museum, Framingham, MA, 2016 MICA Then and Now, Ethan Cohen Gallery, Beacon, New York, 2013 Stuart Abarbanel, Donald Baechler, Brock Enright, Aaron Fink, Frank Hyder, Peter Greaves, Morris Louis, Herman Maril The Expressive Voice, Danforth Museum, Framingham, MA, 2012 Bon Appetit, Concord Art Association (curated by Meredyth Hyatt Moses), 2010 Celebrating Ten Years, Galerie D’Avignon, Montreal, Canada, 2008 New England Impressions II: Exploring the Woodcut, Concord Art, Concord, MA, 2008 with artists: Doug Andersen, Leonard Baskin, Aaron Fink, Don Govett, Peik Larsen, Michael Mazur, Barry Moser, Brian Shure, Heidi Siebel, Annie Silverman, Andrew Stevovitch, James Stroud. Right to Print: Segura Publishing Company, Scottsdale Museum of Contemporary Art, Go Figure: The Figure in Contemporary Art – A Response to Art History, McIninch Art Gallery, Southern New Hampshire University, 2007 Fourteen Artists/Fourteen Years: Mahaffey Fine Art, Portland Art Museum, Portland, OR, 2006-2007 More Than One: Prints and Portfolios from the Center Street Studio, Boston Painting in Boston: 1950-2000, DeCordova Museum and Sculpture Park, Lincoln, MA, 2002 A Tribute to John Powers, Hatton Gallery, Colorado State University, Fort Collins, CO, 2000 A Salute to Boston, Wiggin Gallery, Boston Public Library, Boston, MA, 1998 Be Still Dear Art, New England School of Art and Design, Boston, MA, 1998 Attributes of the Artist, The Art Complex Museum, Duxbury, MA, 1997 Working Sources: The Painter and the Photographic Image, Alpha Gallery, Boston, MA, 1997 The Unique Print: Six Innovative Approaches to the Monotype, Starr Gallery, Newton, MA, 1997 Face and Figure, Museum of Fine Arts, Boston, MA, 1996 Grand Illusions: Four Centuries of Still Life Painting, Museum of Fine Arts, Boston, MA, 1994 The Label Show, Museum of Fine Arts, Boston, MA, 1994 Selections from Atelier Mourlot, Hankyu Department Store, Tokyo, Japan, 1993 Yale Collects Yale, Yale University Art Gallery, New Haven, CT, 1993 Includes works by Thomas Bang, Jennifer Bartlett, Jonathan Borofsky, Chuck Close, Steve Currie, Rackstraw Downes, Aaron Fink, Audrey Flack, Nancy Graves, Eva Hesse, Brice Marden, Claes Oldenburg, and more. Fast Forward: Six Years of Collecting for a New Museum, Samuel P. Harn Museum of Art, Gainesville, FL, 1993 A Decade of Print Publishing, Neuberger Museum of Art, Purchase, NY, 1993 The Art Collection of the Federal Reserve Board: Five Years of Accessions, Board of Governors Building, Washington, DC, 1992 The Object: Found, Observed, Imagined, Fitchburg Art Museum, Fitchburg, MA, 1991 The Unique Print, Museum of Fine Arts, Boston, MA, 1990 8 Artists/8 Visions, DeCordova Museum, Lincoln, MA, 1990 The 1980s: Prints from the Collection of Joshua P. Smith, National Gallery of Art, Washington, DC, 1989-1990 The Age of Pluralism, Centro di Cultura Ausoni, Rome, Italy, 1989 Award Candidates Show, American Academy and Institute of Arts and Letters, New York, NY, 1987 70’s into 80’s: Printmaking Now, Museum of Fine Arts, Boston, MA Skowhegan Alumni, Leo Castelli Gallery, New York, and Portland Museum of Art, Portland, Maine, 1986 Public and Private: American Prints Today, Brooklyn Museum, Brooklyn, NY, 1986 Highlights: Selections from the Bank of America Headquarters, San Francisco, CA, 1984 Local Visions IV: Portraits, Hayden Gallery, MIT, Cambridge, 1984 Contemporary Miami Collectors, Metropolitan Museum, Coral Gables, FL, 1984 The Modern Art of the Print: Selections from the Lois and Michael Torf Collection, Museum of Fine Arts, Boston, and Williams College Museum of Art, 1984 Painting and Sculpture Today, Indianapolis Museum of Art, 1984 The New Portrait, Institute of Art and Urban Resources, Project Studio One, Long Island City, New York, 1984 The American Artist as Printmaker, Brooklyn Museum, Brooklyn, NY, 1983-84 Boston Now: Part II, Institute of Contemporary Art, Boston, MA, 1983 Jon Abbot, Aaron Fink, Tom Lieber, Chris Wool, Delahunty Gallery, New York, NY, 1983 The Figure Beside Itself: Contemporary Figurative Prints, University of Massachusetts, Amherst, MA, 1982 Art of the State, Rose Art Museum, Brandeis University, Waltham, MA, 1982 Boston Now: Figuration, Institute of Contemporary Art, Boston, MA, 1982 A Private Vision: Contemporary Art from the Graham Gund Collection, Museum of Fine Arts, Boston, MA, 1982 Boston Printmakers 32nd National Exhibition, DeCordova Museum, Lincoln, MA, 1979-1980 Works on Paper from the Yale School of Art, Victorian College of the Arts Gallery, Melbourne, Australia, 1978 S E L E C T E D C O L L E C T I O N S Art Institute of Chicago Bank of America Boston Public Library Bouwfonds Nederlandse Gemeenten, The Netherlands Brooklyn Museum of Art Castelli Collection, New York Chase Manhattan Bank Chemical Bank Children's Hospital, Chicago Choate Rosemary Hall...

This is a color lithograph titled "Windmill Antilles" created in 1980 by American photo-realist pioneer Howard Kanovitz. The piece features a surreal juxtaposition of a rustic house ...

This exquisite watercolor by Ian Hornak (1944–2002), titled Abstract Floral Still Life in Crimson and Blue, was executed circa 1963 during the artist’s undergraduate studies. Created during the formative years of Hornak’s artistic development, the composition provides a compelling glimpse into the emerging vision of an artist who would later become one of the pioneering figures of American Photorealism and Hyperrealism. Depicting an atmospheric arrangement of blossoms, vessels, and organic forms rendered in luminous washes of color, the watercolor reveals Hornak’s early fascination with still life subjects and the expressive possibilities of watercolor. Rich passages of crimson, magenta, blue, violet, orange, and earth tones combine with fluid brushwork and transparent layers to create a composition that balances abstraction with observation. The work demonstrates the confidence and spontaneity characteristic of Hornak’s student years, when he explored color relationships and compositional structure through increasingly ambitious watercolor studies. Although created decades before the highly detailed paintings that brought him international recognition, the watercolor already reveals his sensitivity to atmosphere, his ability to orchestrate complex arrangements, and his lifelong interest in transforming familiar subjects into emotionally resonant images. As a rare surviving example from his undergraduate years, the work offers valuable insight into the artistic foundations that ultimately led to the symbolic still lifes and botanical masterpieces of his mature career. Executed in watercolor on wove paper, this work measures 21 x 29.5 inches (53.34 x 74.93 cm). Unsigned; estate stamped, verso. Artwork Details: Artist: Ian Hornak (1944–2002) Title: Abstract Floral Still Life in Crimson and Blue Medium: Watercolor on wove paper Dimensions: 21 x 29.5 inches (53.34 x 74.93 cm) Inscription: Unsigned; estate stamped, verso Date: Circa 1963 Condition: Well preserved, consistent with age and medium Provenance: Estate of Ian Hornak, East Hampton, New York About the Artist: Ian Hornak (1944–2002) was an American painter, draughtsman, printmaker, and pioneering force in Photorealism and Hyperrealism whose extraordinary technical mastery, visionary imagination, and innovative approach to realism established him as one of the most distinctive and original artists of the late twentieth century. Widely recognized as a founding member of both the Photorealist and Hyperrealist movements, Hornak helped redefine the possibilities of contemporary realism by combining photographic precision with symbolism, romanticism, mythology, environmental awareness, art historical references, and metaphysical inquiry, creating a body of work that stands apart within postwar American art for both its visual brilliance and intellectual ambition. Born in Philadelphia and raised in Michigan before establishing his career in New York and East Hampton, Hornak emerged during one of the most transformative periods in modern art and developed a highly individual visual language that transcended conventional artistic categories. While many of his contemporaries focused on strict photographic transcription, urban imagery, or detached observation, Hornak utilized realism as a foundation for exploring profound themes of memory, beauty, mortality, spirituality, environmental fragility, and humanity’s relationship with nature, producing works that operate simultaneously as visual spectacles and philosophical meditations. His artistic vision reflects an awareness of the revolutionary innovations introduced by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, while simultaneously drawing inspiration from the Hudson River School, particularly Frederic Edwin Church, Martin Johnson Heade, Thomas Cole, and Albert Bierstadt, as well as the spiritual landscapes of Caspar David Friedrich and the botanical precision of Dutch Golden Age masters such as Jan van Huysum and Rachel Ruysch. Through this extraordinary synthesis of influences, Hornak created a visual language that united scientific observation, photographic realism, romantic grandeur, allegorical symbolism, and philosophical reflection into a form entirely his own. During the late 1960s and early 1970s, Hornak emerged as one of the earliest artists associated with the newly developing Photorealist movement, producing panoramic landscapes of astonishing complexity and technical sophistication that challenged prevailing assumptions regarding realism and representation. These groundbreaking paintings incorporated the visual effects of multiple-exposure photography, allowing Hornak to present numerous viewpoints, shifting perspectives, and compressed moments in time within a single composition, years before such approaches became commonplace in contemporary art. He was also among the first contemporary artists to extend pictorial imagery beyond the edges of the canvas and onto elaborately painted frames, dissolving the boundary between artwork and object and anticipating later developments in installation art and expanded-field painting. These innovations earned widespread critical acclaim and positioned Hornak alongside major contemporaries such as Chuck Close, Richard Estes, Audrey Flack, Ralph Goings, Robert Bechtle, Malcolm Morley, Richard McLean, and Don Eddy, yet his work remained distinguished by its emotional resonance, romantic sensibility, and deep engagement with both art history and the natural world. As his career evolved, Hornak increasingly moved beyond the concerns of mainstream Photorealism and developed a more personal and ambitious artistic vision, culminating in the monumental botanical, allegorical, and symbolic masterpieces of the 1980s and 1990s that many scholars regard as the pinnacle of his achievement. These extraordinary paintings combined hyperreal floral imagery, celestial phenomena, rare minerals, birds, insects, architectural motifs, mythological references, and complex still-life arrangements into dazzling visual orchestrations that reward prolonged viewing and intellectual engagement. Major works such as Raphael’s Stairway, Echo Loses Narcissus, Hannah’s Mirror, Very Baroque Flowerpiece, and the celebrated Last Song series transformed traditional genres into contemporary meditations on beauty, mortality, history, science, religion, art history, and the cosmos. Unlike many photorealists whose work remained rooted primarily in observation, Hornak elevated realism into a vehicle for symbolic and philosophical exploration, creating paintings that function simultaneously as technical masterpieces, visual narratives, intellectual puzzles, and poetic reflections on existence itself. Throughout his career, Hornak was represented by influential galleries including Tibor de Nagy Gallery, Fischbach Gallery, Katharina Rich Perlow Gallery, and Armstrong Gallery, exhibiting extensively in New York and internationally. His work received praise from leading critics and publications, including The New York Times, which described him as being “right at the top of romantically descriptive painters today.” His paintings entered important private, corporate, and institutional collections, and his reputation has continued to grow through significant posthumous exhibitions at institutions including the Forest Lawn Museum, the Board of Governors of the Federal Reserve System in Washington, D.C., the Washington County Museum of Fine Arts, the Anton Art Center, and the Moss-Thorns Gallery of Art. Hornak’s influence extends far beyond Photorealism into later generations of realist, hyperrealist, symbolic, environmental, and representational painters who continue to explore the intersection of photography, illusion, narrative, environmental awareness, and metaphysical content. Today, his paintings, drawings, and prints remain highly sought after by collectors who recognize their rarity, beauty, technical excellence, and historical importance, while his personal papers are preserved in the Smithsonian Institution’s Archives of American Art, affirming his place within the broader narrative of twentieth-century American art. As international interest in museum-quality realism continues to expand and collectors increasingly seek historically significant artists whose scholarly importance exceeds their current market valuations, Hornak’s work has attracted growing attention for its originality, ambition, and uniqueness within American art. His highest recorded sale was achieved in 2017, when Large Orchid Bouquet (1988) was sold in a private transaction conducted in association with the heir of the Ian Hornak estate to the Van Andel family, co-owners of Amway, for US$165,000 ($219,168.11 USD, calculated for inflation in 2025), underscoring the growing recognition of an artist whose significance within the history of American realism continues to expand. Ian Hornak watercolor, Ian Hornak student work, Ian Hornak undergraduate studies, abstract floral watercolor...

Hand signed and titled in ink by the artist from edition of 50 (plus proofs). Color Photo printed at CVI Lab by master printer Guy Stricherz. Published by Prestige Art Ltd. From the color saturated 1980's. "A course in miracles"" The title, taken from the 1976 book on New Age spiritual guidance encourages speculation about each element in this still life. The amount of roses--three--is a significant number in many religions and mythologies. Besides Jesus and Albert Einstein, Flack included the silent mystic Hindu philanthropist Shree Krishnaji, also known as Baba. Flack used the detail of his face with the roses, hovering above the ocean, in her monumental painting, Baba. Following an illness, she turned to mysticism, framing Christian and Hindu images with Jewish ones in A Course of Miracles of 1983: On the “west” side, a photograph of Albert Einstein and a European Jewish candlestick...

This exquisite watercolor by Ian Hornak (1944–2002), titled Abstract Floral Composition, was executed circa 1963 during the artist’s undergraduate studies. Created during the formati...

Color lithograph on wove paper with full margins and deckled edge Pencil signed and numbered 42/125, with publisher's blind stamp Published by Atelier Ettinger, Inc. New York (There ...

Ross Bleckner FLOATING RED Year: 2019 Medium: Archival pigment print on Innova Etching Cotton Rag 315 gsm fine art paper Size: 42 x 70 inches (107 x 178 cm) Edition: 30 Price: $7,000 Also sold as a set with Floating Red Glowing and contemplative, Ross Bleckner’s work blends abstraction with recognizable symbols to create meditations on perception, transcendence and loss. Ross Bleckner was born in 1949 in New York and grew up in the prosperous town of Hewlett Harbor on Long Island. The first art exhibition he saw—The Responsive Eye, a show of Op art on view at the Museum of Modern Art in New York in 1965—had a strong impact on him. He decided to become an artist when he was in college, studying with Sol LeWitt and Chuck Close at New York University, where he earned a BA in 1971. Two years later, he completed an MFA at the California Institute of the Arts in Valencia, where he met David Salle. After moving back to New York, Bleckner purchased and moved into a Tribeca loft building in 1974. Painter Julian Schnabel rented three floors of the building, and the Mudd Club, a nightclub frequented by musicians and artists, occupied space there from 1977 to 1983. Bleckner sold the building in 2004. His first solo exhibition was held in 1975 at Cunningham Ward Gallery in New York. In 1979 he began his long association with Mary Boone Gallery in New York, which championed several of the so-called art stars of the 1980s. In 1981 Bleckner met Thomas Ammann, an important Swiss art dealer who went on to collect his work. Bleckner’s early 1980s Stripe...

A cast acrylic sculpture titled Chin Up by American artist Marc Sijan. This sculpture is made from acrylic and portrays the upper torso of a clothed woman wearing a bandana over her ...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Waiting for the Barbarians, was executed in 1985. The painting belongs to one of the most intriguing and transitiona...

Fernando Salicrup was born in New York City in 1946, though he traveled between Puerto Rico and the United States throughout his childhood. He is a painter and printmaker, known for his work in experimental digital methods. After serving in the military, he returned to study art at the Philadelphia Academy of Art. He also won a scholarship to study at the New York School of Visual Arts, where he studied painting under Chuck Close, and printmaking under Robert Blackburn. In the late 1980's he began working with digital media, which he has continued to explore throughout his career. He has participated in numerous international exhibitions throughout the United States, Latin America, and Europe, including venues such as El Museo del Barrio...

Michael Beck (American, b. 1943) Watercolor painting on paper, 1986 "First Fruits", Hand signed, dated and titled along lower margins Gallery label verso, Matted and framed under...

Marc Sijan (American, born 1946) Hyper realistic wall sculpture. titled and dated on verso "Champagne Glass" 1986 Limited edition number 14/95. Features a Art Deco style girl in ...

Attributed to: Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 23 1/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 23 1/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

This is a proof print. signed and marked bat (for bon a tirer or good to print) This is a single print from 1998 Birds. Suite of eight Cibachromes. Edition of fifteen. 10″ × 10″. Mus...

Hand signed, numbered and dated by the artist in pencil. From the Self Portrait 1-5 series. Artwork is in excellent condition. Image size: 25 x 19 inches. Frame size: 32.6 x 25.75 in...

Dome, Blue, 2017 Archival pigment inks on Crane Museo Max 365 gsm fine art paper 37 x 34 inches (94 x 86 cm) Edition of 40 Suite of 3 also available for $7500 Ross Bleckner is an i...

Artist: KAWS, Title: Small Lie (Brown) Series: Toys Date: 2017 Medium: Sculpture Unframed Dimensions: 11" x 5" x 4.5" Signature: Stamped Edition: Open Edition KAWS (America...

Yorùbá will say "Ayànmọ ni kádàrá" All that has become part of me is "FATE" designated beforehand and these are what will make and lead me to my peak. So I embrace my past and what comes with pride Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Abiola was born in 1992, in Odo-ona Elewe, Ibadan, Nigeria. He was trained and mentored by Mr. Tope Fatunmbi...

A fabulous composition that is inspiring and uplifting. Technically, it is executed very well with a lot of detail, which shows in our detail shots. This is an artist who is coming...

Terry Winters Lines of Communication (from Doctors of the World portfolio), 2001 Abstract expressionist digital pigment print on fine art paper with deckled edges 28 × 33 inches Penc...

Joe Zucker The Relocation of Property by Natural Forces Rubber stamp print on Arches 88 paper Stamp made by Unity Engraving Company, Inc. Printed by Aaron Arnow Paper size: 8 x 8 in...

Provenance: Madison Gallery (Madison Connecticut) bears their label verso. Hunting and fishing cabin themed artwork in a hyper realist or photo realist style. James Carter (Born 194...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1964 Medium: Charcoal on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate of...

Howard Kanovitz The People, 1971 3-5 Mixed Media Silkscreen on Plexiglas and aluminum base Signed: Artist's Signature etched on the work and annotated A.P., Edition of 1 (an Artists Proof, aside from the regular edition of 75) 15 × 16 × 1 1/2 inches Signatured etched on the work and annotated A.P. , aside from the limited edition of 75. This excellent 1971 3-D photo realist work "The People" is a multiple based upon a larger work the artist did of people beholding a work of art. Here, we see them only from behind, because they are busy looking at art - a clever photorealist work - art about art - catching people in the process of looking at art. Howard Kanovitz Biography Howard Kanovitz was a leader of Photo Realism: a documenter of style and fashion, depicting members of the art scene at openings, or superimposing known critics and curators onto images of board room meetings. In his particular style, he explored the intersections of painting, photography, fiction, and fact. Kanovitz studied at the Rhode Island School of Design and The Art Studenst League in Woodstock where he worked with Yasuo Kyniyoshi before moving to New York an apprenticing with Franz Kline. As a member of New York’s downtown art scene, Kanovitz painted abstract paintings, which he exhibited at Tenth Street Galleries early in his career. Following his father’s death in 1963, Kanovitz went through family photos, an experience which prompted him to interrogate the relationship between images and perception. At this time, Kanovitz abandoned abstraction in favor of a figurative style and worked arduously in this new direction. These efforts culminated in a 1966 solo exhibition at the Jewish Museum, securing his place as a leader of Photo Realism among artists such as Larry Rivers, Alex Katz, and Chuck Close. His photo based, representational paintings exhibited at the Jewish Museum show were the first to be called “photo-realist” and shocked many in the art community prompting a symposium which was held at the New York Studio School for “downtown artists” to weigh in on this perennial “hot topic”, newly addressed by one of their own. Kanovitz first began using airbrush in 1967, giving his paintings a feeling of photographic perfection. Cut out figures created using this precisionist technique were placed in the viewers space, often in front of Kanovitz’s painted canvas depicting the luminaries of the art world of the time. This type of installation was the centerpiece in the first of several Waddell Gallery shows. Kanovitz has been the subject of many solo museum shows internationally and his work is collected by institutions such as the Whitney Museum of American Art, Metropolitan Museum of Art, Tate Britain, London, and Museum Moderner Kunst, Vienna. -Courtesy Eric Firestone...

Forrester, Patricia Tobacco (American, 1940-2011). JUDITH'S GARDEN. Etching, not dated. Edition of 50, titled, numbered 49/50, and signed in pencil. ...

Dome, Blue, 2017 Archival pigment inks on Crane Museo Max 365 gsm fine art paper 37 x 34 inches (94 x 86 cm) Edition of 40 Suite of 3 also available for $7500 Ross Bleckner is an i...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate o...

Artist: Ian Hornak (1944-2002) Title: View on Cherry Hill, Barbados Year: 1971 Medium: Pencil on heavy archival paper Size: 29 x 41 inches Condition: Good ...

Howard Kanovitz The Ground Above Us, 1980 Color lithograph on wove paper with deckled edges by renowned photo realist pioneer Signed and numbered from the limited edition of 175 in ...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Charcoal on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Estate of I...

Dave White is a contemporary British Artist who dedicates his work to celebrating popular culture and interpreting emotive issues. White graduated with a BA (Hons) Fine Art (Painting) at Liverpool John Moores University. He has enjoyed success from the inception of his career with selection for the Northern Graduates exhibition at the Royal College of Art in 1994, then exhibiting his initial animals series. A highlight of this period was exhibiting at Sotheby's London to celebrate the Blue Cross centenary and international art fairs. White has continued to reflect popular culture and in 2002 he pioneered the 'Sneaker Art...

Robert Cottingham Blues, from the American Signs Portfolio (hand signed by Robert Cottingham), 2009 Screenprint in colors on wove paper Pencil signed, numbered 66/100, dated, and tit...

"Ogbontarigi Obinrin (Extraordinary Woman)" is a captivating artwork crafted by the talented Abiola Olabamiji. This masterpiece celebrates the essence...

This exquisite woodcut by Ian Hornak (1944–2002), titled Forbidden Fruit, was executed circa 1963 during the artist’s undergraduate studies. Created during the formative years of Hor...

Charles Ford, American Photo Realist Pop Artist Texas Artist Photorealism is a movement which began in the late 1960's, in which scenes are painted in a style closely resembling phot...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate of ...

Michael Mazur (American, 1935-) Hand signed and titled The Lake II, 1985 Color monotype Hand signed, titled, and dated in pencil lower margin Dimensions overall: 47 x 82 in. (frame) ...

I stared at the man with keen interest, hoping to know more about what life has in store for me. The man looked at me sternly, and I couldn’t be more convinced he had seen everything, including my afterlife. A strange language jolted me back to reality as I realized the lady in the room had arrived at the intersection where "Malaicha" and other spirits were. I watched in confusion as the man quickly scribbled down what appeared to be an interpretation of the foreign tongue. My patience dwindled per second as the man kept penning down words. To shorten a long story short, the interpretation was presented in bold letters. My background was also written as additional proof of the veracity of the "spirit." I became eager to know the way forward. "Abeg, Sir, and Ma help my life." "I want to come out of my family's shackles and enemies," I pleaded. They exchanged a knowing look as if they’d been anticipating this moment. My pockets started running dry while my anxiety spiked. I was told to join their religion and denominations. Of course, it’s preferable to go from "God" to "God" in spiritual warfare. I wish to go back to the point of ignorance, where no one was after my life and every day was another day to conquer. A few months later, I realized that to see beyond any circumstances, we must be at ease and calm; we are better able to discern people’s motivations. To see beyond is to see with our inner eyes rather than filthy, unknown eyes. To see beyond is to remain steadfast in personal prayer and to hold out hope that your prayers will be heard. To see beyond is to see beyond the limitations of flesh, realizing that you are gods. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Abiola was born in 1992, in Odo-ona Elewe, Ibadan, Nigeria. He was trained and mentored by Mr. Tope Fatunmbi...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate o...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate o...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

4 Views with Light is a portal, it takes you on a journey. Where do you want to go? 17" x 19.5", initialed and dated lower left. Eleanor Burnette's artistic journey is a testament...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: E...

Howard Kanovitz Paris Review, 1968 Lithograph on wove paper 33 × 26 inches Pencil signed and numbered 9/200 Published by The Paris Review, New Y...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Charcoal on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate of I...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Est...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Foot Figure Study Year: circa 1964 Medium: Original drawing on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Est...

Artist: Ian Hornak (1944-2002) Title: Renaissance Female Nude Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Estate o...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Original drawing on vélin paper Size: 23 x 18 inches Condition: Good Provenance: Est...

Born in Stoke-on-Trent in 1953, Frederick Phillips studied Fine Art at Burslem College of Art when Arthur Berry was Head of the Fine Art (Painting) ...