Skip to main content

Early 2000s Abstract Drawings and Watercolors

3
to
66
347
102
87
58
232
180
38
133
83
140
53
41
Overall Height
to
Overall Width
to
304
84
7
5
5
3
3
1
1
1
1
1
2
18
2,235
5,785
2
6
26
62
83
136
328
314
313
274
1
45
40
14
14
13
314
288
231
101
101
Period: Early 2000s
Modern Black and White Abstract Spiral
Located in Houston, TX
Contrasting black and white abstract style spiral in ink on paper, 2006. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Archival plastic ...
Category

Early 2000s Abstract Drawings and Watercolors

Materials

Ink

A12 - I am having so much fun (Abstract painting)
Located in London, GB
A12 - I am having so much fun (Abstract painting) Acrylic on paper - Unframed. The artist created this series shortly afterward arriving in NY. His interest was to see what respons...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic

"Living Water" Neon Pink and Blue Modern Abstract Painting
Located in Houston, TX
Blue, pink, and white modern abstract mixed media painting by Texas artist, Carole Myers. The work features expressive strokes of blue accented by bright ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic

Smudges Yankel Contemporary painting arbstract art collage brown text word
Located in Paris, FR
Oil paint and collage on panel Unique work Hand-signed lower right by the artist
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Oil, Wood Panel

Light, Series Drawing From Israel - Large Format, Charcoal On Paper
Located in Salzburg, AT
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...
Category

Conceptual Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Charcoal

"Codicis Liber", Contemporary Monotype with Chine Colle and Watercolor
Located in Soquel, CA
Contemporary abstract painting and collage composition of stamps, various types of paper, and watercolor by Michael Pauker (American, b. 1957), 2009. Titled "Codicis Liber", which is...
Category

Contemporary Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Abstract Geometric
Located in Soquel, CA
Bight abstract geometric composition by Alexandra Zinih (20th Century). Signed and dated ("Alexandra Zinih '09") in the upper left corner. Presented in a black frame with a white bac...
Category

Abstract Geometric Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

"VMP 4" Green, Blue, Red , and Blue Striped Contemporary Abstract Painting
Located in Houston, TX
Contemporary abstract geometric painting by artist Mark Byckowski. The work is featured in a series of paintings on a Crescent 100% rag surface watercolor board. The work features ho...
Category

Abstract Geometric Early 2000s Abstract Drawings and Watercolors

Materials

Acrylic, Rag Paper

Play of Angels
Located in New York, NY
Jules Olitski Play of Angels, 2000 Watercolor and gouache on all-rag paper Signed and dated 2000 by the artist on the front Frame included (elegantly floated and framed in light wood...
Category

Color-Field Early 2000s Abstract Drawings and Watercolors

Materials

Gouache, Rag Paper, Watercolor

Abstract painting listed artist Royal Society Arts Blue Yellow Pink Africa
Located in Norfolk, GB
Anthony Benjamin, 'Untitled', watercolour and acrylic on paper, image size 47cm x 60cm, framed size, 63cm x 76cm, signed and dated 2002 Provenance: From the Artist Estate A Gallery Certificate accompanies the painting Anthony Benjamin was a 20th Century abstract precisionist artist. Born in London in 1931 he was active throughout the second half of the 20th century. Experimental, hugely talented and obsessive, Benjamin moved fluidly between mediums and refused to be tied to any practise. He trained with the best, amongst others with Hayter at Atelier 17 in Paris and was recognised by the Royal Society of the Arts, his pier group and leading Galleries and Institutions who displayed and collected his work. Anthony Benjamin was also daring. At at time when the art-world was fixated with the St Ives Group of artists, Benjamin, who was part of this group, chose to leave. Although adept at making St Ives abstractionism it did not sit naturally with him. He did not see value in its art. Instead he sought to replicate abstraction in nature and was inspired by others who had also mastered this craft such as the Composer Brian Eno, who he later collaborated with and Gnawa musicians of Morocco. A trained engineering draughtsmanship, Benjamins formally perfect artworks are always infused with an air of technical experimentation and a poetic response to the natural world. The artist was inspired by pattern and obsessed with process. He was a sculptor, printmaker, painter, draughtsman and used collage, canvas, brass, perspex, steel, paper and anything that inspired him. Throughout his career, Benjamin made monumental paintings. In the studio he thought, pondered and considered every move. It was during these periods of contemplation that he would make warm up paintings that were beautifully loose and almost the antithesis in process to his large works. However it was in these smaller watercolour paintings...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic, Watercolor

Untitled - Drawing by Francesco Trunfio - 2018
Located in Roma, IT
This abstract calligraphy, Untitled, was realized by Francesco Trunfio in 2018 as a sign study. This tempera drawing is part of a series based on the analysis of calligraphy signs. ...
Category

Modern Early 2000s Abstract Drawings and Watercolors

Materials

Tempera

Test Pattern 6 (Grey study)
Located in London, GB
Test Pattern 6 (Grey study) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider how behavioural res...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Acrylic, Gouache

A20 - Make it sexy (Abstract Drawing)
Located in London, GB
A20 - Make it sexy (Abstract Drawing) Acrylic on paper - Unframed. The artist created this series shortly afterward arriving in NY. His interest was to see what responses the paint...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic

Pions (Abstract work on paper)
Located in London, GB
Pions (Abstract work on paper) Watercolour on paper - Unframed. Artwork exclusive to IdeelArt. French abstract artist Jérémie Iordanoff blends the visual languages of Western Mode...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Mandorla - Large Format Charcoal On Paper, Black White Drawing
Located in Salzburg, AT
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...
Category

Conceptual Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Charcoal

Test Pattern 12 (Grey study) (Abstract painting)
Located in London, GB
Test Pattern 12 (Grey study) (Abstract painting) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Acrylic, Gouache

Spring, 2009
Located in Hudson, NY
ABOUT Matt Kinney was born in Georgetown, Massachusetts. He attended Pratt Institute and The School of the Museum of Fine Arts, graduating in 1998. After graduation, Kinney began in...
Category

Contemporary Early 2000s Abstract Drawings and Watercolors

Materials

Watercolor

Veiled Series XXX, Abstract Expressionist Organic Drawing Watercolor Painting
Located in Surfside, FL
Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Watercolor, Permanent Marker

Small Maelstrom (Ref 854) (Abstract drawing)
Located in London, GB
Small Maelstrom (Ref 854) (Abstract drawing) Pigment pencil on Mylar. Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the cente...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Mylar, Pencil, Pigment

Veiled Series X , Abstract Expressionist Organic Drawing Watercolor Painting
Located in Surfside, FL
Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Watercolor, Permanent Marker

Abstract Painting by Antonio Carreno, 'Blue Light'
Located in White Plains, NY
'Blue Light' by Antonio Carreno, 2005. Mixed media on paper, 32 x 40 in. / Frame: 34 x 42.25 in. The drawing in Antonio’s paintings evolved into a personal form of graphic expression...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Mixed Media

Symbol Abstraction I
Located in London, GB
Symbol Abstraction I, 2020 is an enigmatic, medium-sized artwork created by Rafael Melendez using gesso and acrylic paint on paper. Crafted at the artist's Fish Island Studio during ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Gesso, Acrylic

Veiled Series L, Abstract Expressionist Organic Drawing Watercolor Painting
Located in Surfside, FL
Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Watercolor, Permanent Marker

'The Leftovers Trio' original oil pastel on grocery bag, signed & dated on back
Located in Milwaukee, WI
Art: 17"x 12" Frame: 24"x 19" Oil pastel on grocery bag, signed & dated on back. Reginald K. Gee was born in Milwaukee on April 28, 1964 to Native American and African American parents and spent most of his childhood on the northwest side of Milwaukee in the Havenwoods neighborhood. Gee has been creating art since 1982, and his professional art debut began in 1986 at an outdoor exhibition at Milwaukee’s Performing Arts Center. Like Prophet William J. Blackmon and Simon Sparrow...
Category

Early 2000s Abstract Drawings and Watercolors

Materials

Oil Pastel

A12 - I am having so much fun (Abstract painting)
Located in London, GB
A12 - I am having so much fun (Abstract painting) Acrylic on paper - Unframed. The artist created this series shortly afterward arriving in NY. His interest was to see what respons...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic

Untitled - Watercolour mixed media abstraction, Colourful, Warm tones, Silver
Located in Warsaw, PL
MAREK EJSMOND-ŚLUSARCZYK (born in 1974) is a graduate of the School of Fine Arts in Warsaw. He studied painting and drawing at the Warsaw Academy of Fine Arts at the Faculty of Paint...
Category

Other Art Style Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Watercolor, Gouache

Untitled 1 - Expressive Charcoal On Paper Painting, Black White Drawing
Located in Salzburg, AT
The paper of the work is not yellowed, there is a applied yellowed primer under the drawing Krzysztof Gliszczyński is Professor for painting o...
Category

Conceptual Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Charcoal

Ichtios - XX Century, Contemporary Abstract Watercolor Painting, Bright Colors
Located in Warsaw, PL
WOJCIECH SADLEY (born in 1932) Painter, graphic and fabric artist. He studied at the Music Academy in Lublin, then at the Academy Of Fine Arts in Warsaw (where he works as a profess...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Ichtios - XX Century, Contemporary Abstract Watercolor Painting, Bright Colors
Located in Warsaw, PL
WOJCIECH SADLEY (born in 1932) Painter, graphic and fabric artist. He studied at the Music Academy in Lublin, then at the Academy Of Fine Arts in Warsaw (where he works as a profess...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Small Maelstrom (Ref 854) (Abstract drawing)
Located in London, GB
Small Maelstrom (Ref 854) (Abstract drawing) Pigment pencil on Mylar. Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the cente...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Pigment, Mylar, Pencil

"Excursion 3" - Horizontal black & white abstract drawing (pencil on paper).
Located in Miami, FL
Pencil and Charcoal on paper. Note: The painting shown on the wall may not be proportional to the room size.
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Carbon Pencil, Paper, Charcoal, Pencil

Test Pattern 5 (Grey study) (Abstract Drawing)
Located in London, GB
Test Pattern 5 (Grey study) (Abstract Drawing) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Acrylic, Gouache

Storm Series (Ref 844) (Abstract drawing)
Located in London, GB
Pigment pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, this artwork was made by tightly clasping a s...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Mylar, Pencil

French Abstract - Saxophone Player
Located in Houston, TX
French abstract emanating halos of jazz vibrations from repeating images of a saxophone player, 2000s. Original artwork on paper displayed on a white mat with a gold border. Mat fit...
Category

Early 2000s Abstract Drawings and Watercolors

Materials

Acrylic

mixed media censored mail
By Yoko Inoue
Located in New York, NY
Japanese artist, Yoko Inoue creates a monochromatic and minimalistic work consisting of an opened black envelope layered on top of felt paper with embroidered red dots in the center ...
Category

Contemporary Early 2000s Abstract Drawings and Watercolors

Materials

Thread, Acrylic

"Macroaction 13", microscopic, blue, red, green, grey, white, pastel, drawing
Located in Boston, MA
Kay Hartung’s “Macroaction 13” is a 19.5 x 25 inch pastel drawing done on black Canson Mi Teintes paper. In blues, red, green, grey and white this drawing is beautifully detailed wit...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Pastel

Storm Series (Ref 844) (Abstract drawing)
Located in London, GB
Storm Series (Ref 844) (Abstract drawing) Pigment pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, th...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Mylar, Pencil

In Real Time, unique mixed media painting by top Abstract Expressionist artist
Located in New York, NY
Steven Sorman In Real Time, 2003 Acrylic, gouache, gel medium, oil and beeswax collage painting on paper 48 × 34 inches Signed and dated 2003; The frame also bears the original label...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Mixed Media, Oil, Acrylic, Gouache, Gel Pen, Graphite

Small maelstrom (Ref 855) (Abstract drawing)
Located in London, GB
Pigment pencil on Mylar - Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the center on a tilted table, she extends her fingers ...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Mylar, Pencil, Pigment

Small maelstrom (Ref 855) (Abstract drawing)
Located in London, GB
Small maelstrom (Ref 855) (Abstract drawing) Pigment pencil on Mylar - Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the cent...
Category

Abstract Expressionist Early 2000s Abstract Drawings and Watercolors

Materials

Mylar, Pencil, Pigment

"Beaver Lake Beaver with Surround Sound Cows" signed by David and Sarah Barnett
Located in Milwaukee, WI
"Beaver Lake Beaver with Surround Sound Cows" is an original mixed media piece incorporating watercolor and ink on handmade paper by David Barnett and his daughter, Sarah. They both ...
Category

Contemporary Early 2000s Abstract Drawings and Watercolors

Materials

Ink, Watercolor, Handmade Paper

Dreamy Surrealistic Drawing
Located in Houston, TX
Dreamy surrealistic style ink drawing by Spanish artist, Jorge Miton, circa 2005. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Archiv...
Category

Early 2000s Abstract Drawings and Watercolors

Materials

Ink

Abstract Drawing
Located in Houston, TX
Abstract ink drawing by Spanish artist Jorge Miton, 2005. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Archival plastic sleeve and Ce...
Category

Early 2000s Abstract Drawings and Watercolors

Materials

Ink

A13 - I appreciate that (Abstract painting)
Located in London, GB
A13 - I appreciate that (Abstract painting) Acrylic on paper - Unframed. The artist created this series shortly afterward arriving in NY. His interest was to see what responses the...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic

"Microbial Gathering 1", microscopic, orange, pink, purple, pastel drawing
Located in Boston, MA
Kay Hartung’s “Microbial Gathering 1” is a 19.5 x 25 inch pastel drawing done on black Canson Mi Teintes paper. In colors of orange, pink, purple and white, the drawing is richly det...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Pastel

Storm Series (Ref 844) (Abstract drawing)
Located in London, GB
Storm Series (Ref 844) (Abstract drawing) Pigment pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and Sandy, th...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Mylar, Pencil

Exotic Hex Series 12 01, Square Reddish Brown Circular Mandala Line Drawing
Located in Kent, CT
This reddish brown pigment drawing was made with a perforated stencil laid on ivory rag paper, pounced with a sack of powdered pigment. Pigment passes through leaving marks, patterns...
Category

Contemporary Early 2000s Abstract Drawings and Watercolors

Materials

Rag Paper, Pigment, Stencil

Test Pattern 2 (Grey Study) (Abstract Drawing)
Located in London, GB
Test Pattern 2 (Grey Study) (Abstract Drawing) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Acrylic, Gouache

A13 - I appreciate that (Abstract painting)
Located in London, GB
Acrylic on paper - Unframed. The artist created this series shortly afterward arriving in NY. His interest was to see what responses the paintings evoke.
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic

Test Pattern 2 (Grey Study) (Abstract Drawing)
Located in London, GB
Test Pattern 2 (Grey Study) (Abstract Drawing) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Acrylic, Gouache, Paper, Ink

A12 - I am having so much fun (Abstract painting)
Located in London, GB
Acrylic on paper - Unframed. The artist created this series shortly afterward arriving in NY. His interest was to see what responses the paintings evoke.
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Acrylic

Untitled 2006 (Abstract Drawing)
Located in London, GB
Untitled 2006 (Abstract Drawing) Pen on tracing paper - Unframed. Richard Caldicott drawings have a minimal esthetic, an architectural character, created with only one or two lines...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Pen

Test Pattern 6 (Grey study)
Located in London, GB
Transitions (Abstract Painting) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider how behavioural...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Acrylic, Gouache

Test Pattern 5 (Grey study)
Located in London, GB
Test Pattern 5 (Grey study) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider how behavioural res...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Ink, Acrylic, Gouache

"Macroaction 14", microscopic, blue, orange, green, brown, pastel, drawings
Located in Boston, MA
Kay Hartung’s “Macroaction 14” is a 19.5 x 25 inch pastel drawing done on black Canson Mi Teintes paper. In blue, orange, green, brown, purple and white this drawing is beautifully d...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Pastel

"Macroblast 10", pastel, drawing, microscopic, blue, green, white, black
Located in Boston, MA
Kay Hartung’s “Macroblast 10” is a 19.5 x 25 inch pastel drawing done on black Canson Mi Teintes paper. In blues and greens this drawing is beautifully detailed with both broad area ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Pastel

"Macroblast 7", pastel, drawing, microscopic, orange, pink, purple, black
Located in Boston, MA
Kay Hartung’s “Macroblast 7” is a 19.5 x 25 inch pastel drawing done on black Canson Mi Teintes paper. In pinks, oranges and purples this drawing is beautifully detailed with both br...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Pastel

"Macrovision 10", pastel, drawing, microscopic, abstract, blue, green, grey
Located in Boston, MA
Kay Hartung’s “Macrovision 10” is a 19.5 x 25 inch pastel drawing done on black Canson Mi Teintes paper. In colors of blue, green and yellow on a background of grey, the shapes form ...
Category

Abstract Early 2000s Abstract Drawings and Watercolors

Materials

Paper, Pastel

Recently Viewed

View All