Four More Years
Four More Years, 2017. Installation view.
Michael Krueger
History is Nonsense – War Stories, 2016
Woodblock with chine-collé,
18 x 24 inches (image size)
History is Nonsense – War Stories, 2016
Woodblock with chine-collé,
18 x 24 inches (image size)
Left to right:
Katherine Bradford, Superman Stands, No Boots, 2014. Acrylic on canvas. 10 x 8 inches.
Nicolas Maloof, Smooth Move, 2017. Archival inkjet. 13 3/4 x 9 3/4 inches. CTP, Edition of 3.
Sally Webster. Blue to Blue, 2010. Oil on wood panel. 18 x 18 inches.
Adam Raymont. Untitled, 2017. Acrylic and flashe on paper. 16 1/2 x 11 1/2 inches.
Philip Taaffe. Asterias, 2016. Silkscreen and oil pigment on paper. Variable Edition. 12 1/2 x 12 1/2 inches.
Katherine Bradford, Superman Stands, No Boots, 2014. Acrylic on canvas. 10 x 8 inches.
Nicolas Maloof, Smooth Move, 2017. Archival inkjet. 13 3/4 x 9 3/4 inches. CTP, Edition of 3.
Sally Webster. Blue to Blue, 2010. Oil on wood panel. 18 x 18 inches.
Adam Raymont. Untitled, 2017. Acrylic and flashe on paper. 16 1/2 x 11 1/2 inches.
Philip Taaffe. Asterias, 2016. Silkscreen and oil pigment on paper. Variable Edition. 12 1/2 x 12 1/2 inches.
Max Warsh
Starr Cinema, 2015
Cut photographs on panel
40 x 30 inches
Starr Cinema, 2015
Cut photographs on panel
40 x 30 inches
Left to right:
Louise Eastman. light, weight, 2016. 36-color monotype on wool felt from the collaborative light, weight portfolio with Heather Waatkins. 24 x 24 inches. Edition of 15.
Heather Watkins. light, weight, 2016. 4 of 8 silkscreen prints on Kozo paper from the collaborative light, weight portfolio with Louise Eastman. 12 x 12 inches each. Edition of 15.
Adam Raymont. Street Artists, 2017. Acrylic and flashe on paper. 16 1/2 x 11 1/2 inches.
Greg Foley. Roden Crater (after James Turell), from the limited edition portfolio, Lux Ex Tenebris. 20 risograph prints on 80lb acid free vellum. 17 1/8 x 11 1/8 inches. Edition of 100.
Louise Eastman. light, weight, 2016. 36-color monotype on wool felt from the collaborative light, weight portfolio with Heather Waatkins. 24 x 24 inches. Edition of 15.
Heather Watkins. light, weight, 2016. 4 of 8 silkscreen prints on Kozo paper from the collaborative light, weight portfolio with Louise Eastman. 12 x 12 inches each. Edition of 15.
Adam Raymont. Street Artists, 2017. Acrylic and flashe on paper. 16 1/2 x 11 1/2 inches.
Greg Foley. Roden Crater (after James Turell), from the limited edition portfolio, Lux Ex Tenebris. 20 risograph prints on 80lb acid free vellum. 17 1/8 x 11 1/8 inches. Edition of 100.
Left: Marco Lawrence. Above Isafjördur, 2017. Silkscreen. 24 x 18 inches.
Right: Wayne Gonzales. Parking Lot Triptych, 2014. Five-color reduction linoleum cut printed on Somerset paper. Edition of 24. 11 x 19 inches.
Right: Wayne Gonzales. Parking Lot Triptych, 2014. Five-color reduction linoleum cut printed on Somerset paper. Edition of 24. 11 x 19 inches.
Left: Naho Taruishi. White House in 1800, 2014. Graphite on Gampi paper. 6 1/2 x 8 inches.
Right: Robert Medvedz. COLLECTIVE, 2017. Sumi-e on paper. 14 x 11 inches.
Right: Robert Medvedz. COLLECTIVE, 2017. Sumi-e on paper. 14 x 11 inches.
Left: Martin Mazorra. Night Bloom Jasmine (Nocturne Suite), 2015. Woodcut and letterpress on French paper. Edition of 20. 24 x 18 inches.
Right: Gabriela Salazar. Hook Crook # Parallel (Another, Brother), 2017. Wood, paper pulp, plasticine, found hook (steel and rubber). 72 x 5 1/2 x 19 1/2 inches.
Right: Gabriela Salazar. Hook Crook # Parallel (Another, Brother), 2017. Wood, paper pulp, plasticine, found hook (steel and rubber). 72 x 5 1/2 x 19 1/2 inches.
Left: Lothar Osterburg. Return to the Tower, 2015. Photogravure. 34 x 28 1/2 inches. Edition of 8.
Right: Daft Kuntz. SO GOOD IT COULD HAVE BEEN, 2012. Silkscreen on paper. Edition of 8. 33 1/2 x 26 inches.
Right: Daft Kuntz. SO GOOD IT COULD HAVE BEEN, 2012. Silkscreen on paper. Edition of 8. 33 1/2 x 26 inches.
Left to right:
Daft Kuntz. SO GOOD IT COULD HAVE BEEN, 2012. Silkscreen on paper. Edition of 8. 33 1/2 x 26 inches.
Sally Webster. Sailor, 2017. Oil on linen. 14 x 14 inches.
Glen Baldridge. Trapper Keeper, 2014. Thousand Year Old Child Print Portfolio. Edition of 30. 15 x 11 inches.
Nicolas Maloof. Juice Cleanse, 2017. Archival inkjet. 9 3/4 x 13 3/4 inches. CTP, Edition of 3.
Katherine Bradford. Superman Flight, 2017. Acrylic on canvas. 10 x 8 inches.
Daft Kuntz. SO GOOD IT COULD HAVE BEEN, 2012. Silkscreen on paper. Edition of 8. 33 1/2 x 26 inches.
Sally Webster. Sailor, 2017. Oil on linen. 14 x 14 inches.
Glen Baldridge. Trapper Keeper, 2014. Thousand Year Old Child Print Portfolio. Edition of 30. 15 x 11 inches.
Nicolas Maloof. Juice Cleanse, 2017. Archival inkjet. 9 3/4 x 13 3/4 inches. CTP, Edition of 3.
Katherine Bradford. Superman Flight, 2017. Acrylic on canvas. 10 x 8 inches.
Left: Naho Taruishi. Two Bubble Guns #1, 2015. Graphite on gampi. 8.5 x 12.5.
Right: Rachel Ostrow. Fly Me Still, 2017. Oil on panel. 48 x 56 inched.
Right: Rachel Ostrow. Fly Me Still, 2017. Oil on panel. 48 x 56 inched.
Left to right:
Robert Olsen. Untitled (Overpass 7), 2013. Gouache and watercolor on paper. 6.25 x 10.25 inches.
Mae Shore. The Main House, 2009. Oil on canvas. 18 x 14 inches.
Ruth Lingen. Women Can't Be Artists, 2013 (Special to the New York Times, Feb 27, 1910). Letterpress from handset type on handmade paper. 4 1/4 x 5 inches. Edition of 75.
Grayson Cox. Existential Iced Coffee with Holder, 2017. Silicone, silicone dye, vacuum sealed plastic, wood and paint. 42 x 10 x 30 inches.
(detail) John Mitchell. February Window, 2017. Oil on canvas. 36 x 36 inches.
Robert Olsen. Untitled (Overpass 7), 2013. Gouache and watercolor on paper. 6.25 x 10.25 inches.
Mae Shore. The Main House, 2009. Oil on canvas. 18 x 14 inches.
Ruth Lingen. Women Can't Be Artists, 2013 (Special to the New York Times, Feb 27, 1910). Letterpress from handset type on handmade paper. 4 1/4 x 5 inches. Edition of 75.
Grayson Cox. Existential Iced Coffee with Holder, 2017. Silicone, silicone dye, vacuum sealed plastic, wood and paint. 42 x 10 x 30 inches.
(detail) John Mitchell. February Window, 2017. Oil on canvas. 36 x 36 inches.
Left to right:
Ruth Lingen. Women Can't Be Artists, 2013 (Special to the New York Times, Feb 27, 1910). Letterpress from handset type on handmade paper. 4 1/4 x 5 inches. Edition of 75.
Grayson Cox. Existential Iced Coffee with Holder, 2017. Silicone, silicone dye, vacuum sealed plastic, wood and paint. 42 x 10 x 30 inches.
John Mitchell. February Window, 2017. Oil on canvas. 36 x 36 inches.
Sebastian Black. Composition With Registration Marks and Other Marks, 2017. Five plate aquatint etching with spit bite and soap ground. 32 x 24 1/4 inches (paper size), 24 x 18 inches (plate size). Edition of 25. Published by Wingate Studio.
Ruth Lingen. Women Can't Be Artists, 2013 (Special to the New York Times, Feb 27, 1910). Letterpress from handset type on handmade paper. 4 1/4 x 5 inches. Edition of 75.
Grayson Cox. Existential Iced Coffee with Holder, 2017. Silicone, silicone dye, vacuum sealed plastic, wood and paint. 42 x 10 x 30 inches.
John Mitchell. February Window, 2017. Oil on canvas. 36 x 36 inches.
Sebastian Black. Composition With Registration Marks and Other Marks, 2017. Five plate aquatint etching with spit bite and soap ground. 32 x 24 1/4 inches (paper size), 24 x 18 inches (plate size). Edition of 25. Published by Wingate Studio.
Left: Sebastian Black. Composition With Registration Marks and Other Marks, 2017. Five plate aquatint etching with spit bite and soap ground. 32 x 24 1/4 inches (paper size). 24 x 18 inches (plate size). Edition of 25. Published by Wingate Studio.
Right: Robert Medvedz. ALCHEMY, 2017. Sumi-e, 24kt gold, and marker on paper mounted on Evolon. 24 x 19 inches.
Right: Robert Medvedz. ALCHEMY, 2017. Sumi-e, 24kt gold, and marker on paper mounted on Evolon. 24 x 19 inches.
Left to right:
Jamisen Ogg. Untitled, 2013. Sharpie on paper. 11 x 11 inches.
Victoria Burge. Sawtooth II, 2017. Acrylic and ink on antique paper. 8 x 13 inches.
Richard Dupont. Mireille (1), 2017. Woodcut, pochoir, and silkscreen. 18 x 24 inches.
Robert Olsen. Untitled (Overpass), 2016. Five-color screenprint. 9 1/2 x 12 1/2 inches. Edition of 30.
Chuck Webster. Lands and Castles Study, 2017. Ink and watercolor on antique paper. 16.5 x 15.5 inches.
Jamisen Ogg. Untitled, 2013. Sharpie on paper. 11 x 11 inches.
Victoria Burge. Sawtooth II, 2017. Acrylic and ink on antique paper. 8 x 13 inches.
Richard Dupont. Mireille (1), 2017. Woodcut, pochoir, and silkscreen. 18 x 24 inches.
Robert Olsen. Untitled (Overpass), 2016. Five-color screenprint. 9 1/2 x 12 1/2 inches. Edition of 30.
Chuck Webster. Lands and Castles Study, 2017. Ink and watercolor on antique paper. 16.5 x 15.5 inches.
Anders Bergstrom. Greasy Brown Bag Test, September 19, 2016, Proof and Counterproof, 2016. Softground etching, sugar left, aquatint, with surface roll printed on both sides on Akatosashi. 25 prints and 25 counterproofs, cut, folded and assembled, unique. 3 1/2 x 2 x 1 1/4 inches each.
Four More Years, 2017. Installation view.