528 results for "sol lewitt"

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In this painting by Elizabeth Gourlay, clean and precise, carefully ordered stripes and blocks of color in orange, green, yellow, red and brown are warm and vibrant against the soft ...

In this contemporary abstract painting in flashe on canvas, stripes and blocks of color in soft gray blue, pale sage green, beige and golden brown are clean, precise and carefully or...

In this contemporary geometric abstract painting in acrylic on canvas mounted onto a shaped panel, carefully ordered horizontal blocks of color in yellow ochre, light lilac and light blue frame sections of gray with light lilac in the center. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. The artist contemplates the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay draws inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely uses a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist was the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

In this abstract painting in gouache on paper by Elizabeth Gourlay, clean and precise, carefully ordered blocks of color in shades of light green, gray-blue, and coral toned orange a...

Carefully ordered blocks of color in a warm, golden shade of yellow and a deep shade of gray are vibrant against the neutral, earthy beige linen mounted on a shaped panel. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. The artist contemplates the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay draws inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely uses a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist is the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

Clean and precise, carefully ordered stripes and blocks of color in orange, green, pale lemon yellow, gray, blue, purple and brown are lively and vibrant against the soft beige backg...

In this contemporary geometric abstract painting in acrylic on linen mounted on a shaped panel, carefully ordered horizontal blocks of color in pale green, light teal blue and soft sage are luminous against thinner neutral sections of exposed beige linen. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. The artist contemplates the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay draws inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely uses a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist was the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

Lyman Kipp Untitled Minimalist painting on paper, 1981 Oil paint on paper Signed and dated 1981 on the front Floated and framed in the original vintage frame under UV plexiglass Meas...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated in the lower margin. Walker's paintings work particularly well alone or in groupings -- see...

Jay Walkers latest series, "Inner Space," analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of ...

Jay Walker's Luminescent Polygons, painted on archival artist's paper with deckled edges, are infused with an internal light or glow, in much the same way that gems glow. Walker crea...

In this contemporary abstract painting in colored pencil and gouache on Fabriano paper by Elizabeth Gourlay, clean and precise, carefully ordered blocks of color in shades of light p...

Vintage Exhibition Poster is a Offset print realized for the exhibition of Marco Tirelli in 2006. Good condition, no signature. The exhibition was held in Galerie de Meo in Paris i...

This is a photo of Friedl Dzubas (Abstract Expressionist) at Castelli Gallery, signed in ink and with photographer stamp verso and hand written title.. Over a 50-year span, McDarra...

Jay Walker's "Inner Space" series analyzes a single motif built from repeating parallel lines that is commonly found in his work. In this series of 12 paintings on paper, Walker expl...

In this painting in acrylic on canvas mounted on a shaped panel, carefully ordered blocks of color in a deep shade of dark cobalt blue with a thinner block in purple are vibrant agai...

Jay Walker's Luminescent Polygons, painted on archival artist's paper with deckled edges, are infused with an internal light or glow, in much the same way that gems glow. Walker crea...

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...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated in the lower margin. Walker's paintings work particularly well alone or in groupings -- see...

Jene Highstein Untitled, 1982 Pastel and Chalk on Paper Hand signed and dated by artist on the front 32 × 40 inches Frame included Original hand signed pastel and chalk drawing, with...

Carl Andre "Untitled" (Rubber Stamp Portfolio, 1976) — Limited Edition Conceptual Minimalist Art, Framed, Published by Parasol Press & MoMA Own a rare and iconic work of concept...

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...

In this abstract painting in colored pencil and gouache on paper by Elizabeth Gourlay, clean and precise, carefully ordered blocks of color in pink and gray are rich against the pale...

Jay Walker is best known for his large-scale, site-specific installations and collector's pieces created with laser-cut vinyl, colored acrylic sheets, artist-made stencils, tape, and...

Jay Walker is best known for his large-scale, site-specific installations and collector's pieces created with laser-cut vinyl, colored acrylic sheets, artist-made stencils, tape, and...

Jay Walker is best known for his large-scale, site-specific installations and collector's pieces created with laser-cut vinyl, colored acrylic sheets, artist-made stencils, tape, and...

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...

Jay Walker's Luminescent Polygons, painted on archival artist's paper with deckled edges, are infused with an internal light or glow, in much the same way that gems glow. Walker crea...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan...

At a media party with Gordon Parks, Alan King and Genevieve Young. Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat ...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated in the lower margin. Walker's paintings work particularly well alone or in groupings -- see...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated on the back. Walker's paintings work particularly well in groupings -- see photo gallery f...

Jay Walker's "Prismatic Polygon" paintings on archival artist's paper are signed and dated on the back. Walker's paintings work particularly well in a pair or series -- see photo gal...

George Mauersberger (American, 20th Century) Veg 2, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed th...

George Mauersberger (American, 20th Century) Veg 10, 2004 Watercolor on paper 9 x 12 inches 13 x 16 inches, framed George Mauersberger completed t...

Genre: Modern Subject: Abstract Medium: Oil Surface: Canvas Country: United States Dimensions: 18" x 24" Dimensions w/Frame: 18.5" x 24.5" Hand signed lower right Cubist Surrealism,...

This abstract geometric limited edition print by Roger Mudre features lightly translucent concentric circles that overlap throughout the composition, creating a glowing effect of a y...

Man in Wheel Chair , Titled Terminal patient, Bird Cover Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-B...

David Carmack Lewis' "The Root Cellar" is a striking surrealist impressionist oil painting which depicts stairs leading to a small entryway of an underground cellar, surrounded by a ...

"Carlos Garcia De La Nuez (Cuba, 1959) 'Juegos', 2006 silkscreen on paper 19.7 x 23.7 in. (50 x 60 cm.) Edition of 99 ID: GAR1649-003-104" ____________________________________________ "Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico. He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...

This Limited Edition giclee print by Roger Mudre features features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, g...

Carl Andre "Untitled" (Rubber Stamp Portfolio, 1976) — Limited Edition Conceptual Minimalist Art, Framed, Published by Parasol Press & MoMA Own a rare and iconic work of conceptual ...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, white shades to create a larger blue circular form at the center of the composition. The painting, which is 36" x 36" (37.5" x 37.5" framed), transforms and shimmers in changing light due to hand-applied metal-leaf under-layer. It is framed in a gold-hued floater frame. It is wired and ready to hang. The focus of Roger Mudre’s work is the circle. This Connecticut-based artist finds inspiration in the colors and patterns of nature. Painting in jewel toned acrylics, he builds sheer layers of color on a subtly reflective metal leaf surface to create a picture plane that changes with the viewer’s perspective. Roger's work is part of many corporate and private collections including Hotel Zero Degrees in Norwalk, Connecticut, Frontier Communications, and the Energizer Corporation in Shelton, Connecticut. Roger is influenced by Joesph Albers...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, white shades to create a larger blue circular form at the center of the composition. The painting, which is 36" x 36" (37.5" x 37.5" framed), transforms and shimmers in changing light due to hand-applied metal-leaf under-layer. It is framed in a gold-hued floater frame. It is wired and ready to hang. The focus of Roger Mudre’s work is the circle. This Connecticut-based artist finds inspiration in the colors and patterns of nature. Painting in jewel toned acrylics, he builds sheer layers of color on a subtly reflective metal leaf surface to create a picture plane that changes with the viewer’s perspective. Roger's work is part of many corporate and private collections including Hotel Zero Degrees in Norwalk, Connecticut, Frontier Communications, and the Energizer Corporation in Shelton, Connecticut. Roger is influenced by Joesph Albers...

David Carmack Lewis' beautiful original contemporary oil landscape "Generation" (2024) depicts an old, large tree stump with two young trees growing next to it, all in warm glowing l...

Jay Walker is best known for his large-scale, site-specific installations and collector's pieces created with laser-cut vinyl, colored acrylic sheets, artist-made stencils, tape, and...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, w...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, white shades to create a larger blue circular form at the center of the composition. The painting, which is 36" x 36" (37.5" x 37.5" framed), transforms and shimmers in changing light due to hand-applied metal-leaf under-layer. It is framed in a gold-hued floater frame. It is wired and ready to hang. The focus of Roger Mudre’s work is the circle. This Connecticut-based artist finds inspiration in the colors and patterns of nature. Painting in jewel toned acrylics, he builds sheer layers of color on a subtly reflective metal leaf surface to create a picture plane that changes with the viewer’s perspective. Roger's work is part of many corporate and private collections including Hotel Zero Degrees in Norwalk, Connecticut, Frontier Communications, and the Energizer Corporation in Shelton, Connecticut. Roger is influenced by Joesph Albers...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, white shades to create a larger blue circular form at the center of the composition. The painting, which is 36" x 36" (37.5" x 37.5" framed), transforms and shimmers in changing light due to hand-applied metal-leaf under-layer. It is framed in a gold-hued floater frame. It is wired and ready to hang. The focus of Roger Mudre’s work is the circle. This Connecticut-based artist finds inspiration in the colors and patterns of nature. Painting in jewel toned acrylics, he builds sheer layers of color on a subtly reflective metal leaf surface to create a picture plane that changes with the viewer’s perspective. Roger's work is part of many corporate and private collections including Hotel Zero Degrees in Norwalk, Connecticut, Frontier Communications, and the Energizer Corporation in Shelton, Connecticut. Roger is influenced by Joesph Albers...

20X 16 sheet. signed, dated and titled. Deaccessioned from the Readers Digest magazine corporate collection. MARNA CLARKE EDUCATION BA degree in mathematics, University of North Ca...

In this contemporary painting in acrylic on linen mounted on a shaped panel, two vertical blocks of color in dark navy blue and soft orange are luminous against thinner neutral secti...

In this painting in graphite and acrylic on linen mounted on a shaped panel by Elizabeth Gourlay, carefully ordered blocks of color in a warm, coral shade of orange are vibrant again...

In this painting by Elizabeth Gourlay, clean and precise, carefully ordered stripes and blocks of color in pink, gray, magenta, red, beige and green are lively and vibrant. Signed, d...

In this contemporary abstract painting in acrylic on linen mounted on panel, carefully ordered horizontal blocks of color along the edge of the composition in pink, orange and light ...

In this contemporary abstract painting by Elizabeth Gourlay in acrylic on linen mounted on a shaped panel, carefully ordered horizontal blocks of color in pale gray blue lavender, gr...

In this contemporary abstract painting in acrylic on linen mounted on a shaped panel by Elizabeth Gourlay, carefully ordered blocks of color in salmon, peach and mauve are luminous a...

Clean and precise, carefully ordered stripes and blocks of color in pale mint green, light blue, brown, beige and burnt orange complement the soft gray and beige background. Signed, ...

Clean and precise, carefully ordered stripes and blocks of color in orange, green, pale lemon yellow, gray, blue and brown are lively and vibrant against the soft beige background. Signed, dated and titled on verso. Elizabeth Gourlay’s work is a meditation on color and form, a gradual yet progressive analysis leading to a complex vocabulary of shapes, color and line. Musical composition, emotional states and our collective subconscious resonate within bars, lines and blocks of color. The abstract forms emerge, layer and shift in precisely ordered, carefully composed rhythms. Gourlay's artwork is a contemplation of the elements that make color in reduced forms come to life: size, flatness, relation to its edges, and how the presence of other colors affect how it is perceived. Gourlay drew inspiration from shapes found in everyday life and in her studio. The observed shapes either remain as they are or become simplified to their essential geometric elements. Subtleties in color, area, edge or orientation are the catalyst for emotive responses. Palette is minimized; the artist rarely used a wide palette within one work. Rather, a broad range of colors are explored and then reduced. Gourlay investigates color properties: complementary or analogous color, value, saturation and color harmony vs. color anomaly. Elizabeth’s Gourlay’s work has been shown extensively throughout the United States. The artist was the recipient of numerous residencies, fellowships and awards including Artist in Residence at the studio of Sol LeWitt in Spoleto, Italy. Gourlay’s work has been written about in The New Criterion, Painters’ Table and Gorky’s Granddaughter, to name a few. Gourlay earned her MFA at Yale University School of Art, New Haven, CT, and her BA from Edinburgh...

David Carmack Lewis' beautiful original contemporary oil landscape "Luminaire" (2021) depicts a three tall trees with a campfire burning in between them. This piece perfectly showcas...