Conceptual Drawings and Watercolor Paintings

Fresh to market - UNIQUE! Mel Bochner UNNAMEABLE Monoprint with collage, engraving and embossment on hand- dyed Twinrocker handmade paper Signed in graphite recto Frame included - he...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...

The paper of the work is not yellowed, there is a applied yellowed primer under the drawing Krzysztof Gliszczyński is Professor for painting o...

This new series of works by the multidisciplinary artist TUSET (1997, A Coruña) shows us a completely unique dynamic. In these works he uses the concrete of the construction as picto...

In this conceptual painting, New York artist, Thomas Broadbent presents five portraits of Plovers in 2 rows with a finely detailed rendering of a moon rocket engine...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

Black And White Minimal Painting is an original artwork realized by TUSET in 2019. The work is unframed but has a rigid support on the back. The title of this works is "From the A...

Blue Minimal Painting. This is an original artwork realized by TUSET in 2019. We can frame it in natural wood or black on request. The dimensions of the painting are 41 x 29,5 cm. W...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Artist: Arman Title: Watch Gears Year: circa 1979 Medium: Ink on Paper Drawing, signed l.r. Paper Size: 25 x 19 inches Frame Size: 34 x 27.5 inches

Artist: Richard Davies Title: One Green Wave Year: 1991 Medium: Watercolor, graphite, colored pencil, collage, signed in pencil Size: 60 x 40 in. (152.4 x 1...

Ken Aptekar American (b. 1950) Go Know (Study) 1996 Graphite, white pigment, transparency film, and staples on paper Hand signed lower right sheet: 18 x 18 inches frame dimensions: 21 x 21 x 1 3/4 inches, wood frame with acrylic glazing Ken Aptekar is an artist who combines painting with text. He paints new versions of historical paintings and frames, bolting glass with sandblasted words to his painted panels. Aptekar’s work belongs to the tradition of painting, yet he brings to that tradition a recognition that paintings produce meaning only through their interaction with viewers. He investigates the nature of spectatorship. By “recreating” works of art in a painterly but utilitarian manner, Aptekar promotes viewers’ own narratives prompted by the image-text combinations. Born in Detroit, Aptekar received his BFA at the University of Michigan, then moved to Brooklyn to complete an MFA at Pratt Institute. Most recently, his work was featured at the Jewish Museum in Vienna, Austria, and in the Biennale Internationale d’Autun, in Autun, France. A major commissioned solo exhibition, NACHBARN (“NEIGHBORS”), 2016, was on view at the St. Annen Museum in Lübeck, Germany, including paintings with text, silverpoint drawings, and video all based upon medieval altarpieces in the St. Annen Museum’s collection. Previously, his work has been seen in solo exhibitions at the Victoria & Albert Museum in collaboration with the Serpentine Gallery (London), the Corcoran Gallery of Art (Washington, DC), Memorial Art Gallery (Rochester, NY), Centro da Cultura Judaica (Sao Paolo, Brazil), Musée Robert Dubois-Corneau (Brunoy, France), the New Museum (New York, NY), Douglas Cooley Gallery at Reed College (Portland, OR), Palmer Museum of Art at Penn State (State College, PA), Cummer Museum (Jacksonville, FL), and the Elaine Jacob Gallery at Wayne State University (Detroit, MI). In 2012 Aptekar’s work was the subject of a survey exhibition, ​“Ken Aptekar: Look Again,” at the Beard and Weil Galleries, Wheaton College, Massachusetts. He was in the show Words & Music with John Giorno, Cheonae Kim...

Lucio Pozzi, Italian (1935 - ) - Untitled, Year: 2001, Medium: Pencil and Ink on Paper, signed, Size: 12 x 9 in. (30.48 x 22.86 cm)

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This large scale conceptual text based painting by New York artist, David Kramer, features, in bold type the phase: "... I AM STILL WAITING FOR MY...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. ...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

James Spanfeller (20th century) mixed media on board drawing. Signed lower right This artwork appeared on page 68 of the August 1970 issue of Playboy Magazine, illustrating the fict...

'To The Slow Graceful Dance' Original Artwork. Unframed _________________________ A breeze in the theatre, a dance begins, costumes rising to the rhythm of the birdsong choir. The p...

38"x28" signed by the artist, David Kramer. (oil, acrylic, enamel, pencil on gessoed paper) In this conceptual work on paper, the title: "Paved with Gold" counters the text which ov...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

This is an original artwork unframed realized by TUSET in 2020. We can frame it in natural wood or black on request. Dimensions: 65 x 50 cm Original and unique piece 1/1. Includes ...

Obsessive, meticulous, almost monastic, Kramer immerses us in a universe of graphic and sculptural repetitions. His drawings on kraft paper glued with rabbit glue recall both ancient...

This new series of works by the multidisciplinary artist TUSET (1997, A Coruña) shows us a completely unique dynamic. In these works he uses the concrete of the construction as picto...

Landscape with Alpine Skiing and furniture armoire in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pionee...

1970s Tano Festa Signed and Dated Drawing Important work in marker on cardboard by the great Roman artist Tano Festa, one of the major exponents, together with Mario Schifano, of th...

Black And White Minimal Painting is an original artwork realized by TUSET in 2019. The work is unframed but has a rigid support on the back. The title of this works is "From the A...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

John Giorno LET IT COME LET IT GO, 2017 Watercolor on handmade paper Hand signed and dated by the artist on the back of the artwork. The frame features a die-cut window on the back t...

Landscape with beach chair or lawn chair in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conce...

Landscape with snow capped mountains in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptua...

The work is on 1 paper. Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be...

Landscape with Swiss cheese (or architectural frieze) in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pio...

ColorSoundGrammar Ellen Hackl Fagan There is a long history of sound/color synaesthesia work, from Isaac Newton’s color organ to Alexander Scriabin’s “Prometheus,” but not much wor...

G_IX, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/6 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, wi...

G_XII, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/16 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, ...

Landscape with refrigerator in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist...

Unexpected materials, found and manufactured, perch precariously on torn edges and bifurcated sheets of large paper. Here, fluid calligraphic lines are posed against the veracity of ...

Landscape with music record or disc in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual...

Landscape with framed house in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist....

Landscape with ironing board in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist...

Landscape with barbecue grill in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artis...

Unexpected materials, found and manufactured, perch precariously on torn edges and bifurcated sheets of large paper. Here, fluid calligraphic lines are posed against the veracity of ...

Landscape with Ranch Fence in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. ...

Landscape with Sandwich Maker in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artis...

Unexpected materials, found and manufactured, perch precariously on torn edges and bifurcated sheets of large paper. Here, fluid calligraphic lines are posed against the veracity of ...

Leslie's public projects respond to site, history and the body. Figures are female or hermaphroditic, of imaginary descent, often melded with animal, architecture and plant forms. I ...

Artist: Byron Goto Title: Portrait of Herb Tauss Year: circa 1975 Medium: Charcoal on Paper, signed Paper Size: 62 x 42 in. (157.48 x 106.68 cm) Frame Size:...

Gouache and technic mixte on paper, signed in the text. Benjamin Vautier was born July 18, 1935 in Naples, Italy to a French family. He is the great-grandson of the Swiss painter Marc Louis Benjamin Vautier [fr] (1829-1898). He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp and the music of John Cage. In 1959, Vautier founded the journal Ben Dieu. In 1960, he had his first one-man show, Rien et tout in Laboratoire 32. Ben joined George Maciunas...

Honore-Victor Daumier (1808–1879) - Caricature. "A bon chat bon rat" lithograph on paper, 30x22 cm

Blue Minimal Painting is an original artwork realized by TUSET in 2020. The painting is unframed, we can frame it in natural wood or black on request. The title of this works is "F...

Gouche and technic mixte on paper.signed in the text. Benjamin Vautier was born July 18, 1935 in Naples, Italy to a French family. He is the great-grandson of the Swiss painter Marc Louis Benjamin Vautier [fr] (1829-1898). He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp and the music of John Cage. In 1959, Vautier founded the journal Ben Dieu.[2] In 1960, he had his first one-man show, Rien et tout in Laboratoire 32. Ben joined George Maciunas...

Mario Segundo Perez Argentine, 1960–2018 Sentimental Ink on Paper Dimensions: 7.5 X 9.75 with frame. sheet is 5 X 7 Does not appear to be signed on front (not examined out of frame. might be signed verso) Provenance: The Estate of Theodore A Bonin (Ted Bonin was a principal in Alexander and Bonin, a New York gallery known for its diverse slate of conceptual artists. He started at Marlborough gallery London in the 60s, then in partnership with Brooke Alexander. In its stable were a host of esteemed artists: Willie Cole, Rita McBride, John Ahearn, Paul Thek, Doris Salcedo, Eugenio Dittborn, Dalton Paula, and Rigoberto Torres, Mona Hatoum and Emily Jacir.) Mario Pérez was born in San Juan, Argentina in 1960. The second of seven children, and the son of a housepainter. He obtained his degree in Visual Arts at Universidad Nacional de San Juan in Argentina. A draughtsman and painter. His style was magic realist or fantastic realism In 2003, Pérez was the recipient of a Pollock Krasner Foundation grant, one of his greatest achievements. He also had the honor of being part of the National Exhibition “200 Years-200 Masters of Argentinean Art”, commemorating the country’s bicentennial. Mario has won international distinctions such as the Cecilia Grierson Award at the Salón Nacional de Pintura in La Plata in 1992; the Marco A. Roca Award at the Salón Pro-Arte, Córdoba, also in 1992; and the first prize in the LXXXVIII Salón Nacional de Pintura in Buenos Aires in 1999. His art often features tiny figures in immense landscapes, and unique backgrounds. It has elements of Conceptual art. His work has been regularly featured in leading auction houses like Christie’s and Sotheby’s in New York, and private and public collections. The magic realism of Mario Segundo Pérez is characteristic of a chiefly Latin-American concept in painting, literature and film that incorporates fantastic or mythical elements into an otherwise realistic scenario. Coined in the 1940s by Cuban novelist Alejo Carpentier, the term often is used when referring to the Colombian novelist Gabriel Garcia Márquez, winner of the 1982 Nobel Prize in Literature. Influences include Frida Kahlo and George Tooker. He was in shows with Ana Fabry and Eduardo Esquivel. Paintings by Pérez are included in numerous private and public collections, including the Ciudad Casa de Gobierno (the Buenos Aires City Hall); the University of Miami School of Architecture, and the College of Communication, Architecture + The Arts (CARTA) at Florida International University. He has been in shows with Juan Cardenas, Anna Mercedes Hoyos, Ignacio Iturria, Alejandro Obregon, Domingo Ravenet, Arnaldo Roche, Edgar Negret, Fidelio Ponce de Leon, Ricardo Martinez, Damian Gonzalez, Jorge Jimenez Deredia, Victor...

Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...

Genichiro Inokuma, Japanese (1902 - 1993) - Labyrinth, Year: 1970, Medium: Blue and Black Ink Drawing on Paper, Size: 5 x 3 in. (12.7 x 7.62 cm), ...

The main job of a cartoonist is to parody people. He exaggerates, caricatures, or creates satirical statements about someone’s traits or habits. In Richard Denison Taylor's work for ...

Blue and Black Post - Minimal Painting is an original artwork realized by TUSET in 2017. The work is unframed but has a rigid support on the back. The title of this works is "From...

Genichiro Inokuma, Japanese (1902 - 1993) - Exhibition Poster, Year: 1968, Medium: Poster, with pen drawing, signed and dated in the plate, Size: ...

This series by the multidisciplinary artist TUSET (1997, A Coruña, Spain) titled "Land paintings (or what painting is not)", is a series of paintings that the artist had buried in th...