Cey Adams Art

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Carl Smith is an American artist who has been living in Berlin, Germany, since 2001. He works with a combination of silkscreen printing, collage, and resin to create his urban inspir...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...

Edition version – Wood Panel edition Surface – Wood Panel Edition size – 6 Size – 8.25 x 11.75 inches (A4) Hand-painted – Signed and dated on the reverse side

Edition version – Wood Panel edition Surface – Wood Panel Edition size – 7 Size – 8.25 x 11.75 inches Hand-painted – Signed and dated on the reverse side

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black, red, and purple creates its own essences of form atop washes of whites and gr...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black creates its own essences of form atop washes of whites and grey. Spilling betw...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black creates its own essences of form atop washes of whites, yellow and rust. Spill...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black and pink creates its own essences of form atop washes of whites and yellows. ...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black and blue creates its own essences of form atop washes of whites and orange. Sp...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black and magenta creates its own essences of form atop washes of whites and pale pi...