21st Century and Contemporary Prints and Multiples

Explore Natasha Lelenco's evocative work, "The Dinners", This one is the seven characters panel #10 of a limited edition comprising only 25 copies, displayed on Dibond support. This...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Susan Sheehan Gallery (Ellsworth Kelly Posters 1951-2001)" *Signed by Kelly in pencil lowe...

Laminated Giclée print on aluminium composite panel Edition varies: H14-1 Realisation edition of 395 H14-2 Happiness edition of 327 H14-3 Toleranceedition of 402 H14-4 Wisdom editi...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

"Meaw" Photography 39" x 31.5" inch Edition of 3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. Availa...

Paper Size: 27 x 35 inches ( 68.58 x 88.9 cm ) Image Size: 21.25 x 33 inches ( 53.975 x 83.82 cm ) Framed: No Condition: A: Mint Additional Details: Poster for Jackson Pollock's "Num...

Paper Size: 27 x 30 inches ( 68.58 x 76.2 cm ) Image Size: 22.5 x 28 inches ( 57.15 x 71.12 cm ) Framed: No Condition: A: Mint Additional Details: van Gogh Exhibition poster from the...

This is an exclusive handprinted limited edition cyanotype. "Miami Art Deco Pool" shows the movements of water over a tiled swimming pool floor. Details: + Title: Miami Art Deco Poo...

Getting My Ass in Gear III is a lithograph on paper, 9 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 168/275 (there were also 100 Roman an...

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

Let Go, 2023 by a.muse is a one-of-a-kind work on paper. The composition is a dance of lines and shapes and the art a visual exploration of the act of relinquishing control and embra...

Forget the Destination, 2023 by a.muse is a one-of-a-kind work on paper. The art is a visual poem on wanderlust, inviting viewers to embrace the unknown. For a traveler without a map...

Be the Dance, 2023 by a.muse is a colorful one-of-a-kind art on paper. The work is an invitation to freedom of self-expression and invites the viewer to let go, get lost in the dance...

Mindset, 2023 by a.muse is a work on paper on the diversity of perspectives in the human mind. The art embodies ideas on the mind as a fertile landscape with both thoughts and emotio...

The title for the artwork by a.muse, It Doesn't Have to be Perfect, suggests that striving for perfection is not always the goal. Freedom to explore without fear of failure is impor...

Pink Cosmos, 2023 by a.muse represents the cosmos in pink. A whimsical interpretation of the universe as a place of dreams, wonder, and beauty, the abstract work on watercolor paper ...

Published by Pictures On Walls (POW) in 2008. Sometimes incorrectly referred to as “Caveman” or “Fast Food Caveman”. These were never offered for sale by publisher. They could be acq...

Limited Edition of 400. Set of 11 vinyl stickers on sheet. Based on the Invader tile mosaic art that he installed on the walls in the Veggietown area of P...

This triptych is a multi-panel composition featuring 3 UV prints on dibond aluminum of characters from the Diners series by Moldovan artist Natasha Lelenco (The Mother, the Father an...

This triptych is a multi-panel composition featuring 3 UV prints on dibond aluminum of characters from the Diners series by Moldovan artist Natasha Lelenco. In this series, comprised...

Analía Amaya García (Cuba, 1979) 'Untitled (La Huella Múltiple)', 2002 engraving on paper 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition of 300 ID: HUE-221 Hand-signed by author

Step into the captivating world of acclaimed artist Nick Walker, where a collection of limited edition silkscreen prints eagerly awaits to ignite your imagination. In a truly exclusi...

Deborah Kass (born 1952) Being Alive, 2012 nine-color silkscreen, one color blend on 2-ply museum board Image 24 x 24 image. Frame 29 x 29 x 2 inches Edition 1/65 Hand signed and dated in pencil, lower right verso; numbered lower left verso Being Alive is from a vibrant and uplifting body of work entitled Feel Good Paintings for Feel Bad Times. Finding inspiration in pop culture, political realities, film, Yiddish, art historical styles, and prominent art world figures, Deborah Kass uses appropriation in her work to explore notions of identity, politics, and her own cultural interests. She received her BFA in painting at Carnegie Mellon University and studied at the Whitney Museum Independent Study Program and the Art Students League of New York. Deborah Kass (born 1952) is an American artist whose work explores the intersection of pop culture, art history, and the construction of self. Deborah Kass works in mixed media, and is most recognized for her paintings, prints, photography, sculptures and neon lighting installations. Kass's early work mimics and reworks signature styles of iconic male artists of the 20th century including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha. Kass's technique of appropriation is a critical commentary on the intersection of social power relations, identity politics, and the historically dominant position of male artists in the art world. Deborah Kass was born in 1952 in San Antonio, Texas. Her grandparents were from Belarus and Ukraine, first generation Jewish immigrants to New York. Kass's parents were from the Bronx and Queens, New York. Her father did two years in the U.S. Air Force on base in San Antonio until the family returned to the suburbs of Long Island, New York, where Kass grew up. Kass’s mother was a substitute teacher at the Rockville Centre public schools and her father was a dentist and amateur jazz musician. At age 14, Kass began taking drawing classes at The Art Students League in New York City which she funded with money she made babysitting. In the afternoons, she would go to theater on and off Broadway, often sneaking for the second act. During her high school years, she would take her time in the city to visit the Museum of Modern Art, where she would be exposed to the works of post-war artists like Frank Stella and Willem De Kooning. At age 17, Stella’s retrospective exhibition inspired Kass to become an artist as she observed and understood the logic in his progression of works and the motivation behind his creative decisions. Kass received her BFA in Painting at Carnegie Mellon University (the alma mater of artist Andy Warhol), and studied at the Whitney Museum Independent Study Program Here, she created her first work of appropriation, Ophelia’s Death After Delacroix, a six by eight foot rendition of a small sketch by the French Romantic artist, Eugène Delacroix. At the same time Neo-Expressionism was being helmed by white men in the late Reagan years, women were just beginning to create a stake in the game for critical works. “The Photo Girls” consisted of artists like Sherrie Levine, Cindy Sherman, and Barbara Kruger. Kass felt that content of these works connected those of the post-war abstract painters of the mid-70s including Elizabeth Murray, Pat Steir, and Susan Rothenberg. All of these artists critically explored art in terms of new subjectivities from their points-of-view as women. Kass took from these artists the ideas of cultural and media critique, inspiring her Art History Paintings. Kass is most famous for her “Decade of Warhol,” in which she appropriated various works by the pop artist, Andy Warhol. She used Warhol’s visual language to comment on the absence of women in art history at the same time that Women’s Studies began to emerge in academia. Reading texts on subjectivity, objectivity, specificity, and gender fluidity by theorists like Judith Butler and Eve Sedgwick, Kass became literate in ideas surrounding identity. She engaged with art history through the lens of feminism, because of this theory which “The Photo Girls” drew upon. Kass's work is in the collections of the Museum of Modern Art; Whitney Museum of American Art; Solomon R. Guggenheim Museum; Jewish Museum (New York); Museum of Fine Art, Boston; Cincinnati Museum of Art; New Orleans Museum; National Portrait Gallery, Smithsonian Institution; Fogg Museum, Harvard Art Museums; and Weatherspoon Museum, among others. In 2012 Kass's work was the subject of a mid-career retrospective Deborah Kass, Before and Happily Ever After at The Andy Warhol Museum in Pittsburgh, PA. An accompanying catalogue published by Skira Rizzoli, included essays by noted art historians Griselda Pollock, Irving Sandler, Robert Storr, Eric C. Shiner and writers and filmmakers Lisa Liebmann, Brooks Adams, and John Waters. Kass's work has been shown at international private and public venues including at the Venice Biennale, the Istanbul Biennale, the Museum Ludwig, Cologne, the Museum of Modern Art, The Jewish Museum, New York, the National Portrait Gallery, and the Museum of Fine Arts, Boston. A survey show, Deborah Kass, The Warhol Project traveled across the country from 1999–2001. She is a Senior Critic in the Yale University M.F.A. Painting Program. Kass's later paintings often borrow their titles from song lyrics. Her series feel good paintings for feel bad times, incorporates lyrics borrowed from The Great American Songbook, which address history, power, and gender relations that resonate with Kass's themes in her own work. In Kass's first significant body of work, the Art History Paintings, she combined frames lifted from Disney cartoons with slices of painting from Pablo Picasso, Jasper Johns, Jackson Pollock, and other contemporary sources. Establishing appropriation as her primary mode of working, these early paintings also introduced many of the central concerns of her work to the present. Before and Happily Ever After, for example, coupled Andy Warhol’s painting of an advertisement for a nose job with a movie still of Cinderella fitting her foot into her glass slipper, touching on notions of Americanism and identity in popular culture. The Art History Paintings series engages critically with the history of politics and art making, especially exploring the power relationship of men and women in society. Deborah Kass's work reveals a personal relationship she shares with particular artworks, songs and personalities, many of which are referenced directly in her paintings. In 1992, Kass began The Warhol Project. Beginning in the 1960s, Andy Warhol’s paintings employed mass production through screen-printing to depict iconic American products and celebrities. Using Warhol’s stylistic language to represent significant women in art, Kass turned Warhol’s relationship to popular culture on its head by replacing them with subjects of her own cultural interests. She painted artists and art historians that were her heroes including Cindy Sherman, Elizabeth Murray, and Linda Nochlin. Drawing upon her childhood nostalgia, the Jewish Jackie series depicts actress Barbra Streisand, a celebrity with whom she closely identifies, replacing Warhol's prints of Jackie Kennedy Onassis and Marilyn Monroe. Her My Elvis series likewise speaks to gender and ethnic identity by replacing Warhol's Elvis with Barbra Streisand from Yentl: a 1983 film in which Streisand plays a Jewish woman who dresses and lives as a man in order to receive an education in the Talmudic Law. Kass's Self Portraits as Warhol further deteriorates the idea of rigid gender norms and increasingly identifies the artist with Warhol. By appropriating Andy Warhol's print Triple Elvis and replacing Elvis Presley with Barbara Streisand’s Yentl, Kass is able to identify herself with history’s icons, creating a history with powerful women as subjects of art. The work embodies her concerns surrounding gender representation, advocates for a feminist revision of art, and directly challenges the tradition of patriarchy. America's Most Wanted is a series of enlarged black-and-white screen prints of fake police mug shots. The collection of prints from 1998–1999 is a late-1990s update of Andy Warhol’s 1964 work 13 Most Wanted Men, which featured the most wanted criminals of 1962. The “criminals” are identified in titles only by first name and surname initial, but in reality the criminals depicted are individuals prominent in today's art world. Some of the individuals depicted include Donna De Salvo, deputy director for international initiatives and senior curator at the Whitney Museum of American Art; Thelma Golden, director and chief curator of the Studio Museum in Harlem, and Robert Storr, dean of the Yale School of Art. Kass's subjects weren’t criminals. Through this interpretation, Kass show's how they are wanted by aspirants for their ability to elevate artists’ careers. The series explores the themes of authorship and the gaze, at the same time problematizing certain connotations within the art world. In 2002, Kass began a new body of work, feel good paintings for feel bad times, inspired, in part, by her reaction to the Bush administration. These works combine stylistic devices from a wide variety of post-war painting, including Ellsworth Kelly, Frank Stella, Jackson Pollock, Andy Warhol, and Ed Ruscha, along with lyrics by Stephen Sondheim, Laura Nyro, and Sylvester, among others, pulling from popular music, Broadway show tunes, the Great American Songbook, Yiddish, and film. The paintings view American art and culture of the last century through the lens of that time period's outpouring of creativity that was the result of post-war optimism, a burgeoning middle class, and democratic values. Responding to the uncertain political and ecological climate of the new century in which they have been made, Kass's work looks back on the 20th century critically and simultaneously with great nostalgia, throwing the present into high relief. Drawing, as always, from the divergent realms of art history, popular culture, political realities, and her own political and philosophical reflection, the artist continues into the present the explorations that have characterized her paintings since the 1980s in these new hybrid textual and visual works. OY/YO In 2015, Two Tree Management Art in Dumbo commissioned of a monumentally scaled installation of OY/YO for the Brooklyn Bridge Park. The sculpture, measuring 8×17×5 ft., consists of big yellow aluminum letters, was installed on the waterfront and was visible from the Manhattan. It spells “YO” against the backdrop of Brooklyn. The flip side, for those gazing at Manhattan, reads “OY.”[ An article and photo appeared on the front page of the New York Times 3 days after its installation in the park. An instant icon, OY/YO stayed at that site for 10 months where it became a tourist destination, a favorite spot for wedding, graduation, class photos and countless selfies. After its stay in Dumbo it moved to the ferry stop at North 6th Street in Williamsburg, Brooklyn for a year, where it greeted ferry riders. Since 2011, OY/YO has been a reoccurring motif in Deborah Kass's work in the form of paintings, prints, and tabletop sculptures. Kass first created “OY” as a painting riffing on Edward Ruscha’s 1962 Pop canvas, “OOF.” She later painted “YO” as a diptych that nodded to Picasso's 1901 self-portrait, “Yo Picasso” (“I, Picasso”). OY/YO is now installed in front of the Brooklyn Museum. Another arrived at Stanford University in front of the Cantor Arts Center late 2019. A large edition of OY/YO was acquired by the Jewish Museum in New York in 2017 and is on view in the exhibition Scenes from the Collection. On December 9, 2015 Deborah Kass introduced her new paintings that incorporated neon lights in an exhibition at Paul Kasmin Gallery entitled "No Kidding" in Chelsea, New York. The exhibition was an extension of her Feel Good Paintings for Feel Bad Times, but it sets a darker, tougher tone as she reflects on contemporary issues such as global warming, institutional racism, political brutality, gun violence, and attacks on women's health, through the lens of minimalism and grief. The series is ongoing. Deborah Kass has spoken about creating an “ode to the great Louises,” a space dedicated to her works inspired by famous Louise’s which she would call the “Louise Suite.” The earliest of these odes is “Sing Out Louise,” a 2002 oil on linen painting from her Feel Good Paintings Feel Bad Times collection. “Sing out Louise” is driven by her fondness for Rosalind Russel and the fact Kass feels it is her time to “Sing Out] “After Louise Bourgeois” is a 2010 sculpture made of neon and transformers on powder-coated aluminum monolith; it is a spiraling neon light with a phrase inspired by French-American artist Louise Bourgeois.[22] The neon installation reads “A woman has no place in the art world unless she proves over and over again that she won’t be eliminated.” Kass changed the quote slightly to better represent her beliefs but it was derived from Bourgeois. “After Louise Nevelson” is a 2020 spiraling neon work of art that reads "Anger? I'd be dead without my anger" a quote from American sculptor, Louise Nevelson. Award and Grants New York Foundation for the Arts, inducted into NYFA Hall of Fame (2014) Art Matters Inc. Grant (1996) Art Matters Inc. Grant (1992) New York Foundation for the Arts, Fellowship in Painting 1987 National Endowment for the Arts, Painting (1991) National Endowment For The Arts (1987) Selected solo and group exhibitions The Jewish Museum, New York, NY, “Scenes from the Collection” National Portrait Gallery, Washington, DC “Eye Pop: the Celebrity Gaze” Paul Kasmin Gallery, New York, NY, “No Kidding” (2015-2016) Sargent...

Dimensions: 23.4 x16.5 inches Offset Lithograph in colors on glossy satin poster paper. Excellent condition

Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

Watch Us: Together We Can Do It, II 2020 by Chin Chih Yang is a signed limited edition digitally created print on archival paper: 29/75 - edition number, date of creation, and artist...

Watch Us: Together We Can Do It, I 2019 by Chin Chih Yang is a signed limited edition digitally created print on archival paper: 27/75 - edition number, date of creation, and artist'...

Untitled, 2020 by Chin Chih Yang is a signed limited edition print on archival paper: 28/75 - edition number, date of creation, and artist's signature on recto (front of work) - in m...

Twombly Exhibition -  Galerie Di Meo is a colored offset-poster realized in 1989. This artwork was realized in occasion of the exhibition of  Cy Twombly  held at Leo Castelly Galler...

This is a Five colour screen print Including a metallic Silver layer. This print is then finished off by drawing over the print with multi-coloured paint including Gold, Yellow and G...

The definitive study of the work of KAWS, one of the most influential and much-loved forces in contemporary art and culture. This edition has been signed by KAWS. KAWS is one of the...

Paper Size: 27.5 x 35.5 inches ( 69.85 x 90.17 cm ) Image Size: 26.5 x 31.5 inches ( 67.31 x 80.01 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age...

Paper Size: 28 x 22 inches ( 71.12 x 55.88 cm ) Image Size: 21.25 x 22 inches ( 53.975 x 55.88 cm ) Framed: No Condition: A: Mint Additional Details: Poster for John Waters...

Paper Size: 36 x 24 inches ( 91.44 x 60.96 cm ) Image Size: 30 x 22 inches ( 76.2 x 55.88 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Deta...

Offset Lithograph (poster) Edition of Unknown Size 27.56 x 19.68 in (70.0 x 50.0 cm) This is an original, authorised David Hockney poster, produced by the Kunsthalle Helsinki for t...

This is a contemporary photograph of a Kodiak Bear. This was shot on Kodiak Island in 2019. 36x48 Edition of 12 Archival pigment paper Archival Inks Signed and numbered by the ar...

This is an exclusive handprinted unique cyanotype that takes its inspiration from mid-century modern style shapes. It's made by layering paper cutouts and different exposures using ...

Inspired by Matisse Flower Vase, 2020 by a.muse is an explosion of color and possibilities. A 15" x 11" monotype, one-of-a-kind, semi-abstract art on w...

Through the use of bright color a.muse creates harmony and balance for Bouquet, 2020. An abstract work on watercolor paper, the print is hand-pulled on an etching press by the artist...

Christo and Jeanne-Claude saffron fabric square from The Gates, 2005 The Gates were a group of gates comprising a site-specific work of art by Bulgarian artist...

'Matty Groves' by Harry Bunce is a limited edition print. This print features a fox dressed in a suit and shirt with a bright pink tie, he is holding a knife and is looking off into ...

Criss-Cross, 2019 by a.muse is on the subject of missed connections and chance meetings. The one of a kind chine-colle monotype was hand-pulled on an etching press by the artist. An ...

Love Me Tender, 2019 by a.muse is about unspoken desire in relationships. A 13.5" x 11" chine-colle monotype, dated, titled, and signed (front and back) by the artist. Love Me Tende...

Tell Me, 2019 by a.muse is a 13.5" x 10.25" chine-colle monotype dated, titled, and signed (front and back). The print, hand-pulled on an etching press by the artist, is in an editio...

An abstract work on paper hand-pulled on an etching press by the artist a.muse who inspired by jazz uses bright color to create pulsing vibration, good vibes, and spontaneous movemen...

A piece on freedom, movement, and rhythm, Twirling, 2018 by a.muse is a 15" x 11.25" monotype dated, titled, and signed (on front and back) by the artist. Abstract art on paper...

Intuition, 2019 by a.muse is on the subject of listening to your heart and following it. A one-of-a-kind chine-colle monotype, hand-pulled on the etching press by the artist, is an a...

large scale original photograph of dramatic cloud formations and reflecting sea SEASCAPE VII by Frank Schott 58 x 58 inches ( 147 x 147cm ) signed edition of 7 48 x 48 inches ( 12...

Many Fans by a.muse, 2017 is 15" x 11" -- an original print, dated, titled, signed recto (on front) by artist. An intaglio printmaking process (made on an etching press), the 1/1 w...

An intaglio print pulled on the etching press, Geisha Walking, 2017 by a.muse is a viscosity inked monotype on the subject of a Japanese geisha dressed in a colorful kimono, Madame ...

Trapezoid Planet by a.muse, 2017 is a 15" x 11" original print, dated, titled, signed recto (on front) by the artist. A viscosity inked monotype made on an etching press, the intagl...

Mesmerizing large format photograph of ethereal floral surface and horizon , a body of works capturing the tactile surfaces and monochromatic nature and cloudscapes Blue Hour (2021)...

Aspen Study I by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada ...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism TOPIARY II by Fran...

large-scale original art photography from a series of dramatic cloud atlas observations and abstract monochromatic skyscapes above the Mediterranean Sea C...

C-print mounted on Plexiglass Edition of 30

large scale photography of mesmerizing muted color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Flow' Flow I...

large scale photograph of the iconic HOLLYWOOD sign in golden California sunlight with downtown Los Angeles in the distance HOLLYWOOD by Christian Stoll 48 x 48 inches (122 x 122c...