New Mexico

Early 20th century wool apron (pangden), Western Tibet In original condition, four panels woven on a back-strap loom, stitched together and worn as an apron among the Tibetans of th...

This print is currently featured in our exhibition, Warm Regards, and will be available to ship after the show closes June 24th, 2017. Pentti Sammallahti is a benchmark figure in co...

In a world entrenched in societal division and ecological turmoil, it can be refreshing to step back and enjoy the quiet beauty of the natural world. Dallas photographer David H. Gib...

red taupe beige green orange rust white blue Martha Rea Baker’s technique of choice is driven by her selection of mediums. She has successfully moved between the unique properties o...

From the start, there was something immensely challenging and inspiring about working with animals. Up to that point, I had spent my career photographing subjects I largely controlle...

I have spent seven years photographing visual clues that tell of the beauty, complexity and destruction of South Louisiana. Once formed by sediment deposited by the Mississippi River...

Red Gap, by Glenn Green, Abstract painting, red, white, blue, vertical, bold Red Gap, Abstract landscape painting, red, white, blue, bold colors, vertical

In this series, Zilberberg creates animal montages as an expression of self-therapy, drawing attention to mindfulness and nature conservation. As an urbanite, functioning day-to-day ...

33 x 41" framed, acrylic on canvas yellow black gray I document the essence of the landscape everyday. I am interested in those untouched views of our landscape - the best parts of ...

acrylic, sumi ink on canvas, framed in maple Thomas Slate uses large gestural drawings to create energetic abstractions. The layered process of his pieces creates a rich textured su...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Scorched, abstract, painting, by Glenn Green brown, blue, black, yellow, red

Vesuvius 19.5 x 15 x 14" hand fabricated steel with patina, 4 inch tall powder coated steel base, shown in picture There are two sides to any circle: the inside and the outside. In ...

Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photographic technique have afforded him much recognition, especially for his panoramic landscapes of Texas...

Born in 1939 in Louisville Kentucky, David Gibson is primarily a self-taught photographer. Years of developing and refining his photographic technique have afforded him much recognition, especially for his panoramic landscapes of Texas and the Four Corners region. Gibson's luminous black-and-white landscapes demonstrate a remarkable sensitivity to light and mood. Dramatic clouds, imminent storms and an occasional lighting strike...

mixed media on panel framed in maple frame black white gray In his current body of work, Tim uses large gestural drawings to create energetic abstractions. The layered process of ...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

In this series, Zilberberg creates animal montages as an expression of self-therapy. As an urbanite, functioning day-to-day in a fast-paced, built environment can be emotionally unse...

In SHE TELLS ALL, Kaur engages questions of identity performance by exploring an ever-present and wildly diverse American identity: the modern American witch. Witches are contemporar...

In this series, Zilberberg creates animal montages as an expression of self-therapy. As an urbanite, functioning day-to-day in a fast-paced, built environment can be emotionally unse...

Navy, yellow blue Inspired by the drama of nature and light, Cynthia creates abstracted landscapes with oil on canvas.

Cameraless – A cameraless image is produced on photographic material without the aid of a camera or lenses.

photo-eye Gallery is very excited to share new work from represented artist Maggie Taylor. After completing her prodigious series of illustrations for Lewis Carroll's Through the Loo...

Amazed by the quality and expression of a wall painting in the town square of Kumbaya, Carl Moore began photographing street art during his first visit to Ecuador. Moore's images ser...

In this series, Zilberberg creates animal montages as an expression of self-therapy. As an urbanite, functioning day-to-day in a fast-paced, built environment can be emotionally unse...

The implied act of opening the boxes, releases the energy of the occupants, allowing them to take flight. The people and objects confined within, through the simple act of unfolding,...

Photographer Mark Klett is best known for cool, impersonal images of desert landscapes in the American Southwest, taken from a similar vantage points and under similar lighting condi...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

acrylic on canvas blue white yellow red orange can hang vertically or horizontally Thomas starts with several layers of acrylic, using processes of contrasting colors and surface te...

Maggie Taylor creates what she calls “dreamlike worlds inhabited by everyday objects.” To make her intricate compositions, Taylor collages a variety of images using digital technolog...

Affinity by Brad Wilson is a series of exquisitely detailed close-up color portraits of captive birds, reptiles, and mammals in a studio environment. Employing a stark black backdrop...

9 x 12 inch images, matted at 16 x 20 inches, limited edition of 5, starting at $1,200 12 x 16 inch images matted at 20 x 24 inches, limited edition of 5, starting at $1,600 Each suc...

Edition of 15 Other Editions: 15 x 15" Edition of 15- $3,200 22 x 22" Edition of 10- $5,000 36 x 36" Edition of 9- $9,000 After completing her prodigious series of illustrations fo...

Edition of 15 Other Editions: 8 x 8" Edition of 15 - $1,700 15 x 15" Edition of 15- $3,200 22 x 22" Edition of 10- $5,000 36 x 36" Edition of 9- $9,000 After completing her prodig...

photo-eye Gallery is very excited to share new work from represented artist Maggie Taylor. After completing her prodigious series of illustrations for Lewis Carroll's Through the Loo...

Edition of 15 Other Editions: 15 x 15" Edition of 15- $3,200 22 x 22" Edition of 10- $5,000 36 x 36" Edition of 9- $9,000 After completing her prodigious series of illustrations fo...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

Christopher Colville is an American artist working to push the boundaries of the photographic medium in both experimental and traditional forms. His images are created outdoors by ig...

Kate Breakey's artistic process is an act of investigation – a passionate attempt to establish an understanding of the natural world – a version that incorporates both intellectual a...

photo-eye Gallery is very excited to share twelve new works from represented artist Maggie Taylor. After completing her prodigious series of illustrations for Lewis Carroll's Through...

4.32 total carat emerald-cut Aquamarine and oval Freshwater Pearls 14k yellow gold drop stud earrings. Drop earrings are 1.13 inches in length. Freshwater Pearls are between 16mm and...

Linda Connor: Lick Observatory These celestial images are made from glass plate negatives that belong to the archive of the Lick Observatory in San Francisco. These images were mad...

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

mixed media on panel In his current body of work, Tim uses large gestural drawings to create energetic abstractions. The layered process of his pieces creates a rich textured surfac...

This is a one of a kind luminogram

Tea For Two, limited edition photograph, archival pigment, signed and numbered My photographic series Tales of Heroines is a collection of stories about the lives of young women tol...

Maggie Taylor creates evocative single-scene narratives in her whimsical and often elaborate photomontages. Working intuitively, Taylor combines 19th Century photographs, found objec...

Maggie Taylor creates evocative single-scene narratives in her whimsical and often elaborate photomontages. Working intuitively, Taylor combines 19th Century photographs, found objec...

Maggie Taylor creates evocative single-scene narratives in her whimsical and often elaborate photomontages. Working intuitively, Taylor combines 19th Century photographs, found objec...

Adrift is a project that uses a visual language as a means of polar comparison. By pairing photographs of Antarctic icebergs and empty In~upiat Eskimo hunting cabins, it offers a res...

Maggie Taylor creates evocative single-scene narratives in her whimsical and elaborate photomontages. Working intuitively, Taylor combines 19th Century photographs, found objects, ...

Oxidized sterling silver and 22k yellow gold hand-fabricated dangle earrings featuring amazing green blue Australian Boulder Opals. Unique, beautiful and one-of-a-kind artisan earrings.

Hand Built and glazed ceramic. Free standing, two pieces (sphere and stand). My interest in clay as an artistic medium began in 1984. Like most beginners in the medium, I focused ...

Emerald shaped 12.61 carat (total) pink Morganite, accent white Diamond and round, freshwater pink Pearls in 14k yellow gold stud drop earrings. Stud earrings are 1.25 inches in length. The beautiful, blush pink Morganite and Pearls...

Stunning Australian Boulder Opal and Carico Lake turquoise (from the closed mine in Nevada, USA) set in hand-fabricated, oxidized sterling silver with 18k yellow gold accent prongs a...

Elongated cushion-cut 3.05 carat Imperial Topaz with diamond halo (0.37 ctw, G-H, SI1) 14k white gold cocktail ring. Ring is size 7. Tapered white gold band ranges from 9mm to 12mm at widest point. Gorgeous, golden Imperial...

Three tier, hand forged 22k yellow gold dangle earrings featuring Sunstone (4.3 ct), Lapis Lazuli (7.9 ct), Turquoise Mountain Turquoise (9.6 ct), London Blue Topaz (7.7 ct), Waterme...

Dunes 22 x 30" image size watercolor, 32 x 40" framed in a whitewash profile red green blue yellow I document the essence of the landscape everyday. I am interested in those untouch...

Large, authentic ancient Byzantine coin (Phocas, Follis, Cyzicus mint, AD 602-610) and 3 diamonds (total weight 0.30 carat, SI1-SI2 clarity, G-H colo...

Thonet bent wood arm chairs. Rare frames with great details reminiscent of Alvar Aaltos designs . Very comfortable spring seats with cotton batting. Upholstered in a raw cotton tw...