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This large, extremely rare backlit sign is a bona fide piece of American history. It was produced by The Buckeye Brewing Co. of Toledo, OH, which was founded in 1886, but which has o...

Artist: Miller, Harland Title: BOSS Series: 3 Wishes Forever Date: 2022 Medium: screen print on Somerset Radiant White 410gsm paper with hand torn edges Unframed Dimensions: 59...

Etching with relief printing Edition of 45/50 Signed on the front, numbered on the back Mint Published by Manifold Editions, 2021 Our mission is to connect art collectors to opportu...

Contemporary New York artist Peter Buchman's "How to Disappear" white neon offers customizable settings: blink fast, blink slow, or remain static—the choice is yours. Every few years...

This is a Special Designed Limited Edition Silk Tie by Nicole Miller. Collectors item. A brand-new, unused, and unworn limited edition item with a signed tag. Nicole Miller is a well-known American fashion designer, primarily known for her women's clothing and accessories. PepsiCo, Pizza Hut...

GREG MILLER "Surf" Acrylic, Collage on Canvas 60 x 48 in. Drawing from the diverse cultural and geographic makeup of his Californian roots, Greg Miller explores his relationship wi...

Andy Warhol Deluxe Signed Edition of Film Festival Lincoln Center (Feldman & Schellmann, II.19), 1967 Silkscreen, die-cut on opaque acrylic Edition 2/200 (Signed and numbered on the back with engraving pen) Hand-signed by artist, As this work was done on acrylic, Warhol signed and numbered it by hand on verso with an engraving needle. Printed date with copyright Frame included: Elegantly framed in a museum quality wood frame with UV plexiglass. A die-cut window has been created in the back of the frame to reveal Warhol's incised signature and edition Publisher: Leo Castelli, New York Printer: Chiron Press, New York Catalogue Raisonne: Feldman & Schellmann, II.19 This work is often hung and displayed both vertically and horizontally - see photos for inspiration This work is one of only 200 done on opaque acrylic rather than wove paper, signed and numbered on the opaque acrylic by Andy Warhol with an engraving pen. (Separately, there was an unsigned edition of 500 on wove paper). What distinguishes this rare, extremely desirable signed edition of 200, other than that it is signed and numbered by hand by Andy Warhol, is that the black graphic text FIFTH NEW YORK is placed directly over the text Film Festival of Lincoln Center; whereas in the edition of 500, the text black text FIFTH NEW YORK is placed on top of the white text. An innovative feature that appears in this special edition is a perforated line running across the surface of the print, at its triangular cut out sides, mimicking the tear line present in real commercial movie admissions tickets. Chiron Press commissioned by Lincoln Center, devised a special process expressly to imprint the edition with this perforation using a die cut stamp. This work is quintessential early Warhol, with characteristic bright neon colors, featuring text, along with the artist's very recognizable flower motif. The Lincoln Center ticket...

The Case Against (XL), 2023 Woodcut on paper 67 9/10 × 46 7/10 in (172.5 × 118.5 cm) Edition of 50 Hand-signed and numbered by the artist Happiness: The Case Against is a body of ...

Moody image of a man looking out while the photographer looks in. The picture is organized in a composition of alternating floating faces and floating signs. This work also represen...

A fabulous limited edition screen print by the famous British artist Miles Aldridge. This is one of a limited run of only thirteen made in 2017, it is number 3/13, signed and numbere...

Contextually within the framework of postmodern Neo-pop and Post-pop, Miller utilizes a semiotic process of mining familiar pictorial codes from the popular culture of his youth for ...

Silkscreen on Arches paper, Hand signed and Numbered in Pencil. Serigraph in white, back, blue gray (silver). Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures...

Contemporary New York artist Peter Buchman's American Graffiti Neon is in white for a reason. It's clean, clear, not cluttered, not everywhere and no...

Contemporary New York artist Peter Buchman's Heroine White Neon is a provocative piece that blinks 3 different words randomly: Heroine - Hero - Heroin. The concept for this piece cam...

Bold and electrifying, this large-scale Neo-Geo painting by "Pak" immerses the viewer in an intense symphony of geometric abstraction. Set against a velvety black field, jewel-toned ...

Artist: Jon D'Orazio, American (1942 - ) Title: Dusty Miller Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 300, AP 45 Image Size: 23 x 28 inches Size: 26 in....

Silkscreen on Arches paper, Hand signed and Numbered in Pencil. Serigraph in black, gray (silver). Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures...

Marilyn I Signed Limited Edition By Blank Barbie pop artwork of the iconic sex symbol and actress Marilyn Monroe. Taken from costume shots for her unfinished film Something's Go...

Abstract Oil On Canvas Inspired By Natural Elements. My Abstract Paintings Are All About Creating Excitement For The Viewer Through Concentrated Exploration. Each Painting Is Inspir...

The danger of American life is captured in this Clyde Singer painting, City Peril (1958), where he depicts a moment in the city where a woman is targeted while walking. An accomplish...

Oil on canvas inspired by natural elements. My abstract paintings are all about creating excitement for the viewer through concentrated exploration. Each painting is inspired by natu...

Abstract oil on canvas inspired by natural elements. My abstract paintings are all about creating excitement for the viewer through concentrated exploration. Each painting is inspir...

Oil On Canvas Abstract. My Abstract Paintings Are All About Creating Excitement For The Viewer Through Concentrated Exploration. Each Painting Is Inspired By Nature, Travels, Or Imag...

Carlos Betancourt, American (Born 1966) Abstract Sculpture Spray Paint and hand Painted Sculptural Wall Applique. Hand signed. Dimensions: 28.75" x 26.5" Three dimensional neo primitive wall relief I believe this is from The Sounds Symbols Project (2000), a monumental ephemeral installation in the sand in Miami Beach. Carlos Betancourt (born San Juan, Puerto Rico 1966) is an American multi-disciplinary artist. His artworks explore issues of memory, and his own experiences, while also dwelling in issues of nature, the environment and matters of beauty, identity and communication. He has worked as a curator, furniture designer and has collaborated in with Louis Vuitton as well as on architectural and site-specific private and public commissions with architect Alberto Latorre. Betancourt artwork is in part inspired by his relationship with nature as well as by the diverse cultures and history of the Caribbean basin, Florida and the Americas. Also by artist Ana Mendieta interventions, Robert Rauschenberg assemblages, Andy Warhol perceptions, Neo Rauch compositions, and a Federico Fellini-esque cast of characters for his photo assemblages. Additionally, he relates to some of theorist Jean Baudrillard views about art and his philosophy on objects; French artist Gustave Courbet's idea that "the only possible source for living art is the artist's own experiences", as well as the Martinican writer and theoretician, Edouard Glissant's belief that ..."the past resides in material objects that only release their hidden meanings when encountered imaginatively and sensuously. Betancourt admires the works of diverse artists such as Fernando Oller, Cisco Jimenez, Bill Viola...

TECHNICAL INFORMATION: Andy Warhol Brooklyn Bridge, FS 11.290 1983 Screenprint on Lenox Museum Board 39 1/4 x 39 1/4 in. Edition of 200 Pencil signed & numbered Condition: This wor...

Wig City by Clyde Singer New York City scene of a woman stopping to look in the window of Wig City in 1969. American life is captured in this Clyde Singer painting, where he depi...

Fabulous Art Deco, Machine Age, Streamline Modern, Art Moderne, International style, Bauhaus desk or vanity in chrome, black painted wood with red faux leather insert possibly Fabrik...

Pigment Ink & Acrylic Canvas Gallery Wrapped over Custom Built Box. One of kind creation by the famed artist. Collected worldwide. Homage to Benjamin Franklin. About the Artist: Ultra Fine Money Artist TRAN$PARENT is an American based artist. He specializes in museum quality, ultra-fine money art. Specifically American denominations from the $1 to the $10,000 bill and with special granted requests the Million Dollar Bill. He also specializes in various rare and well known International currencies. Creating game changing revolutionary art has been his life’s passion and he illustrates it beautifully in his TRANSPARENT artwork depicting the front, back and middle security features of his bills. His TRANSPARENT Art is actually a metaphor for being TRANSPARENT with your loved ones, with your business associates, but most importantly with yourself. He fine tunes each image to ensure the highest possible vibrancy and each image is personally quality controlled by him and is also hand signed and individually numbered. APs to Limited Editions his pieces are completely breathtaking and pop when viewed under regular or proper lighting. His pieces are not easy to come by and are becoming highly sought after. One of his many accomplishments was successfully orchestrating 12 different beautiful installations of his work at Miami’s Famous Art Basel 2018. His installations included being the featured artist at the opening night with the Miami Heat...

Richard Andres American, 1927-2013 The Challenge, c. 1982 acrylic and ink on paper mounted on canvas signed lower right, signed and titled verso 60 x 41.5 inches Richard Andres was...

These photographs are Dye Sublimation Prints. Framing options available. "Surfing Color" presents photographs that are abstract creations born from realism. Kocharian emphasizes th...

Bruce Helander Road Runner (Beep, Beep) Mixed Media Artwork Hand signed and dated This is a unique work and is not numbered. Frame: 31" X 21.25" Image: 29.5" X 19.5" This appears to be glitter and paint over a printed background on canvas. Wile E. Coyote and the Road Runner are a duo of cartoon characters from the Looney Tunes and Merrie Melodies series of animated cartoons, first appearing in 1949. The characters were created for Warner Bros in 1948 by animation director Chuck Jones and writer Michael Maltese Bruce Helander (1947 -) is an art critic, arts writer, curator and artist whose specialty is collage and assemblage. He has a master’s degree in painting from the prestigious Rhode Island School of Design, where he later became the Provost and Vice President for Academic Affairs of the college. He is a former White House fellow of the National Endowment for the Arts and has won the South Florida Cultural Consortium fellowship for professional achievement in the visual arts. He is one of two 2014 inductees to the Florida Artists Hall of Fame, Florida’s most prestigious arts and culture honor (the other is musician Tom Petty). Helander is the former Editor-in-Chief of The Art Economist magazine and recently exhibited his work at Georgia Scherman Projects (Toronto), Corzine Fine Art (Los Angeles), Peter Marcelle Gallery (Bridgehampton, New York), Cornell Museum of Art (Delray Beach), and ArtHouse 429 (West Palm Beach). Most currently, his work was shown by Arcature Fine Art at Art Miami and Art Miami New York/Pier 94 and by Tansey Contemporary at Art Wynwood. Helander had a retrospective of his collages and paintings for the Coral Springs Museum of Art, scheduled for 2017, and his collages are included in “Open This End,” a five-year traveling museum show of works from the celebrated Blake Byrne collection in Los Angeles, currently at the Nasher Museum of Art. It included Pop art and Conceptual Art, Minimalism, body-oriented performance art, the Pictures Generation, identity politics and psychologically-inflected figurative works. Andy Warhol, Ed Ruscha, John Baldessari, Cindy Sherman, Louise Lawler, Rita McBride, Bruce Helander, Marlene Dumas, Albert Oehlen, Glenn Ligon, Mark Bradford and more. His work is in over fifty museum permanent collections, including the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum of Art, the Smithsonian Institution, the Montreal Museum of Art, the Art Institute of Chicago, the Whitney Museum of American Art, the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, the White House and the Vatican in Rome. His collages have been the subjects of over one hundred exhibitions in North America and Europe, with reviews in leading magazines such as ARTnews and Art in America. Helander's work is in numerous private collections, including actors Martin Mull and Dennis Hopper, musicians David Byrne and Jimmy Buffett and fashion designer Todd Oldham, as well as numerous corporate commissions. Prominent artists who collect his work include Dale Chihuly, Robert Rauschenberg, James Rosenquist and Larry Rivers. Football great Dan Marino, Senator Howard Metzenbaum and author Tom Wolfe own Helander work. City Link magazine called Bruce Helander "arguably the most recognized and successful collage artist in the country.". "If there was a Pulitzer Prize for collage, Helander would surely win it," observed Kenworth Moffett, the former director of the Museum of Fine Arts in Boston, in a feature article in the November 2001 issue of Gold Coast magazine. His collages appear nationally in leading print media, including The New Yorker magazine. He was commissioned by the United Nations in August 1999 to design a first day postal cover design and limited edition print, which was presented in the General Assembly Building. He has produced prints for the Washington Opera, Ballet Florida and the Palm Beach and Boston Film Festivals. He has written extensively on contemporary art and in 2007 Grassfield Press will publish a book, titled Fire & Ice, of one hundred of his favorite reviews. He writes a monthly columns in South Florida Times magazine. Select Exhibitions 2013 Zadok Gallery, 20 Shades of Grey, Miami 2011 Dennis Hopper Estate Sale Exhibition, Christie’s, 2001 Bernice Steinbaum Gallery, A Painting Over the Sofa (that is not necessarily a painting), Miami, Florida 2001 Society of the Four Arts, 63rd Annual National Exhibition of Contemporary American Paintings, Palm Beach, Florida 2000 ArtWest Gallery, RISD on the Road—Printmaking 2000 Woods-Gerry Gallery, RISD on the Road—Printmaking & Photography, Providence, Rhode Island 1999 Armory Art Center, Figurative Small Works, West Rhode Island School of Design, Art in a Box, Providence, Rhode Island 1995 Norton Museum of Art, Group show, West Palm Beach, Florida 1995 Marisa del Re Gallery, Summer group show 1993 Philharmonic Center for Contemporary Art, Greetings From Florida, Naples, Florida (included Robert Rauschenberg, James Rosenquist, Larry Poons, Jules Olitski and Hanson) 1992 Museum of Art, Stars in Florida, Fort Lauderdale, Florida (curated by David Miller; included Larry Rivers, John Chamberlain, Richard Anuszkiewicz) 1991 O. K. Harris Works of Art, Centennial Biennial Invitational, New York, New York 1986 Diane Brown Gallery, RISD in New York, New York, New York (included Jedd Garet, Italo Scanga, Jim Sullivan, Dale Chihuly, Stuart Diamond, Heide Fasnacht) 1986 Forum Gallery, Collages, New York, New York (included Romare Bearden, Varujan Boghsian, Buster Cleveland...

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...

My paintings are fueled by my love of abstraction. The practice of making them involves experimenting with many schools of art and diverse art movements from the early 1900s to the p...

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...

15 x 15 archival pigment print (image size 14 x 14 inches), edition 8. Signed, titled, dated and editioned on frame label provided. Framing also available at an additional cost. In ...

To take care of your property and the lives of our customers, the new wiring has been done. We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982....

The aerodynamic shapes and chrome accents embraced by industrial designers were a gift to a photographer like Louis Faurer, who was pursuing a sleek and s...

13.25 x 18 inch digital chromogenic print Edition 15 + 3AP Signed, titled, dated and editioned on frame label provided Neal Slavin, a native New Yorker, began photographing groups i...

24 x 19.25 inch digital chromogenic print Edition 15 + 3AP Signed, titled, dated and editioned on frame label provided Neal Slavin, a native New Yorker, began photographing grou...

30 x 40 inch type-c print. Edition 25. Signed, titled, dated and editioned on frame label. Other sizes available - please inquire. For more than thirty years, David Graham, has produced photographic images infused with both compassion and humor, as he has documented the homes we have built, our lives both public and private, and a purely American expression of “freedom.” Graham was born in Abington, Pennsylvania, in 1952. He received a BA from The University of the Arts, and his MFA from the Tyler School of Art, both in Philadelphia. He studied under Ray K. Metzker and Will Larson, and was mentored by Emmet...

15 x 15 archival pigment print (image size 14x14 inches), edition 8. Signed, titled, dated and editioned on frame label provided (see sample). Framing also available at an additional cost. In the latest series by Simone Rosenbauer, entitled Like Ice in the Sunshine...

19.75 x 25 inch Canson pure pigment print, framed to 28.5 x 33.5 inches. Edition 15. Signed, titled, dated and editioned on label verso. Luca Campigotto uses big equipment to captur...

The bright colours of the rainbow coloured Lifeguard hut seem a perfect fit for the Venice Beach lifestyle. I love the contrast of the hut's colours against the lightness of the sand...