Modern Artifact

03/03/2026

In Saturday Night (1983), Clementine Hunter organizes figures in a frieze-like procession across the picture plane, emphasizing gesture and collective activity over individual portraiture. The rhythmic repetition of color and form reinforces her narrative approach—painting not as illusion, but as memory and communal storytelling.

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01/22/2026

Niki de Saint Phalle’s Serpent Vase, created in 1986, is a vibrant sculptural object that demonstrates the artist’s mastery of form and color. The vase draws upon Saint Phalle’s long-standing fascination with mythological creatures and organic motifs, translating the sinuous movement of the serpent into a highly expressive work of art. With its coiled body and lively surface patterning, the Serpent Vase embodies Saint Phalle’s broader exploration of themes of transformation, vitality, and the interplay between nature and fantasy.

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01/20/2026

“Untitled (Blue, Red, Yellow)” belongs to a mature phase of Sam Francis’s printmaking practice, when he translated the gestural energy and chromatic intensity of his painting into the graphic medium of lithography. Executed in 1986, the lithograph demonstrates Francis’s signature interest in spontaneous mark‑making, layered color, and the dynamic interplay between form and space that defines much of his abstract work.

01/16/2026

Blue with Black #1 showcases Ellsworth Kelly’s precise and disciplined approach to abstraction in the mid-1970s. Executed as a color lithograph, the work demonstrates Kelly’s hallmark interest in form, color, and spatial relationships, presenting a bold geometric composition defined by a dominant field of blue intersected by a stark black form. The interaction of color and shape reflects Kelly’s exploration of perceptual clarity, surface, and the dynamics of visual balance, key elements that characterize his contribution to postwar modernist abstraction.

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01/13/2026

Jacob Lawrence's 2000 screenprint "Stained Glass Windows" reflects the artist's continued exploration of African American history and culture through visual art. The composition is characterized by bold, geometric forms and vibrant colors, reminiscent of stained glass artistry, which Lawrence often employed to convey themes of resilience and community.

01/09/2026

Untitled (1979) reflects Sam Francis’s sustained engagement with color, light, and spatial composition. The painting demonstrates a vigorous application of pigment and an open, expansive arrangement, connecting to the broader discourse of Abstract Expressionism while also showing influences from European modernism and East Asian compositional strategies. The layered surfaces and luminous palette illustrate the artist’s investigation of abstraction and the interaction of color and form.

01/05/2026

Created in 2006, Pacific Sunrise Macchia belongs to Dale Chihuly’s Macchia series, a significant body of work devoted to exploring the expressive potential of color, translucency, and surface in blown glass. The term macchia, derived from the Italian word for “spot,” refers to the distinctive mottled surfaces achieved through the application of small fragments of colored glass to the vessel’s exterior. This technique produces intricate visual interactions as light passes through layered hues, resulting in a dynamic and immersive chromatic experience.

12/30/2025

Dale Chihuly’s Red-Orange and Violet Ikebana is a significant example of the artist’s Ikebana series. Created in 2001, the work demonstrates Chihuly’s mastery of glassblowing and his ability to merge traditional techniques with innovative, contemporary approaches. Measuring an impressive 32 inches high overall by 36 inches wide and 16 inches deep, the scale of Red-Orange and Violet Ikebana is one of its most defining characteristics.

12/23/2025

James Rosenquist’s Window Washer Glass House (1978) exemplifies his exploration of scale, fragmentation, and visual layering. The composition features two outstretched arms extending across a field of colored stripes—blue, red, yellow, orange, and black—that traverse the horizontal plane of the image. The work combines etching in colors with embossing and hand-coloring, emphasizing formal arrangement and pattern.

AVAILABLE NOW: James Rosenquist Window Washer Glass House 1978 Color Etching Edition of 78

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12/18/2025

Alexander Calder’s Black Lightning (1964) is a foundational work of art from the most significant year in the artist’s career. The year 1964 marked a defining peak in Calder’s career, when he achieved broad international validation with his landmark retrospective, Alexander Calder: A Retrospective Exhibition at the Solomon R. Guggenheim Museum in New York. The exhibition, which later traveled to major museums, represented a mid-career triumph that confirmed Calder’s place as one of the leading figures of modern art.

AVAILABLE NOW: Alexander Calder Black Lightning 1964 Gouache and ink on BFK Rives paper

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12/09/2025

This 1985 lithograph reflects Haring’s ongoing exploration of movement and community, themes central to his practice during a period of growing international recognition. A vivid example of his printmaking legacy.

AVAILABLE NOW: Keith Haring Untitled (from Three Lithographs) 1985 Signed Lithograph Edition of 80