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Cross Contemporary Partners

Katharine T. Carter & Associates

Katharine T. Carter & Associates

Katharine T. Carter & Associates

Cross Contemporary Partners is an art advisory and online marketing division of Katharine T. Carter & Associates. Jointly managed by Jen Dragon and Katharine T. Carter, Cross Contemporary Partners specializes in promoting and curating artists’ careers, events and exhibitions using digital marketing tools and strategies.


PO Box 309
Kinderhook, NY 12106

3D exhibitions

  • Katharine T. Carter & Associates

    Jim Singelis: Burning From Within

    07 Nov 2020 – 31 Dec 2021

    Jim Singelis describes his images as self-portraits without a mirror, and the complex emotions they represent do embody a singular and personal intensity. The series actually began with one clear and literal self-likeness, and he starts each new painting or drawing by sketching his own reflection. But from there he improvises, and while he observes and reacts the image takes on its own personality, going through many changes, sometimes alternating between male and female or even becoming another species before reaching its final form. Marks documenting the process remain visible; the multilayered, extensively worked surface creates both background and context. The portraits represent not only himself, but also individual characters who have an inner life and relationships of their own in a world whose population continues to expand. He also intends them as self-portraits of a kind for those who look at them, mirrors of emotional states and conditions they know and relate to through the lens of their own experience. Titles are purposely left vague, allowing observers to contribute the narrative or interpret the content for themselves.

  • Katharine T. Carter & Associates

    Peter Cusack

    05 Nov 2020 – 31 Dec 2021

    Peter Cusack explores themes of human identity, sexuality, consciousness and crisis, illuminating the hidden psychological realities of everyday life. Heroic male and female figures live their lives beyond the view of ordinary society, revealing interior monologues of desire, longing, rejection, ambiguity, fear and despair - but without shame, inhibition or the need to conceal. Cusack’s emotional insight, technical skill and freedom from convention make these revelations possible. His subjects are intriguing and deeply complex; the roles and rituals they portray can be recognized from our shared experiences. The echoes of the art of past centuries enrich his imagery, but these representations appear fresh, spontaneous and honest. In spite of Cusack’s vague or ambiguous titles, the characters in his dramas come across as real people in real situations, and it is the strength and resonances of Cusack’s images that makes a narrative possible for the viewer to construct.

  • Katharine T. Carter & Associates

    ANNE MARCHAND

    31 Oct 2020 – 31 Dec 2021

    In Anne Marchand’s recent works, paint appears in thick swaths, thin veils, rivulets, and in flows of enamel, ink, and acrylic. The interacting of differing viscosities forms liquid fields, reminiscent of weather systems and of biological growth. Marchand allows the poetic association in her paintings to arise naturally from the transit between above and below, the winding path, and the dissolving structure. There are the smaller incidents of patterned fabric, glass beads, along with stenciled words and diagrammatic images. And enlivening everything is color, emerging in multifarious ways: like a blush in a cloud, a tint in water, a harmonic chord, or a glowing fire. There is a geometry underpinning the paintings, with a work’s ground initially marked with a pencil, marker, or thread, breaking it into divisions. At times the surface is inscribed intuitively, after the paint is poured. Color is indispensable in achieving the emotional quality in the work. In the newest paintings, patterns are stenciled on the surface or in the printed fabrics that are overlaid with translucent paint.

  • Katharine T. Carter & Associates

    Sharon Kagan: The Macro and Micro Factor

    01 Nov 2020 – 31 Dec 2021

    Sharon Kagan is an artist who has worked in a range of modes including interactive installations, expressive performances, and inventive drawings. She brings to her work an awareness that art can emerge from deep levels of physicality and feeling, and show us the continuity between personal experience and the wider world. Kagan’s drawings originate in tangible, observable reality, but are not simply renderings. Rather, they start with what can be seen, and go on to conjure a kind of alternate, expanded reality. A drawing begins with the artist knitting hemp string or rope into a loose mass that is then photographed in a way that disorients the viewer. In the black and white drawings, the enlarged photographs have an atmospheric, soft-focus quality that allows us intimate entry into the fibrous interstices of the knitting.

  • Katharine T. Carter & Associates

    Deborah Masters

    01 Nov 2020 – 31 Dec 2021

    Deborah Masters’ Spirits, whose heads measure up to five feet in height, are clothed in white, robelike garments, and wear talismans signifying their identities. Suspended from the ceiling by chains, they stare out at us impassively, silently dwelling in their own consciousness. The Little Spirits, both human and animal, have a quirky individuality and engaging liveliness. Their heads are in white porcelain and in clay glazed in many colors, and they wear sheath-like garments. They are drawn from people, dogs, and cows known by Masters through her life. In her drawings, the artist renders her figures, both real and archetypal, with a graphic energy and directness. We witness her confronting the observable and translating it into the hieratic presences that we see in her sculptural work. For the past three decades, Masters has been creating a series of Crosses, which are like diary entries that capture the inner concerns of the artist. The painted images range from Christian iconography, to reflections on tsunamis and the refugee crisis, to the landscape of Central Pennsylvania where the artist grew up. The Crosses, like all of Masters’ work, join the human and the spiritual, asking us to see them as one.

  • Katharine T. Carter & Associates

    Lee Saloutos: SIGNS, SYMBOLS & SURFACES

    15 Oct 2020 – 30 Sep 2021

    Lee Saloutos’s landscape, interior, and close-up surface images are highly detailed and richly atmospheric. These are works that transport the viewer to locations that, while usually unidentified, evoke nonetheless the unending action of the elements and the inexorable passage of time. Even more than this, they hint at a narrative of national decline, the gradual weathering of man-made structures and forms seeming to resonate with the collapse of manufacturing industry. In choosing his subjects, Saloutos also offers a commentary on the state of the nation, linking abstract tone and texture to narratives of social and economic dissolution. In his close-up shots of surfaces, Saloutos mirrors the approach of modernist abstract painters such as Morris Louis, Frank Stella, and Clyfford Still via intense concentration on color and texture. Saloutos minimizes ‘clues’ to these images’ sources and contexts; there are no horizons or edges here, just granular detail. Only occasional fragments of signage and lettering stenciled onto rusty metal or splintered wood offer any reminder of the wider, or, rather, manufactured world. Having begun the series accidentally in the course of another shoot, Saloutos uncovers an unexpectedly compelling crossover between our social and natural histories.

  • Katharine T. Carter & Associates

    Martin Weinstein: Moment to Moment

    15 Nov 2020 – 31 Dec 2021

    With so many variations of landscape painting created over several hundred years, there remain fewer and fewer stones left to overturn. What Martin Weinstein has done with this most ubiquitous type is quite genius. By breaking his compositions down to three or four floating layers of painted elements, surfaces that can span days, months, and even years, Weinstein has brought in a very specific sense of time. Visually speaking, by overlapping layers of clear, frosted acrylic to paint upon, Weinstein can stretch the visual elements not just in time but in space, so a work will read differently in its level of abstraction from angle to angle and moment to moment. These shifting visual transitions are key to understanding the artist’s work and how he uniquely references the land around him through a distinctive and varied filter. Each edge of a flower petal, every cluster or windswept leaf, and each ray of sunlight can be elements that both blend and stand apart as nature observed travels through the air like a refreshing breeze or a sudden apparition. In a way, this is more of how we actually see the world around us, how we focus and process information, and how we judge perspective in movement from detail to detail and site to site.

  • Katharine T. Carter & Associates

    Francie Lyshak: Precarious Visions

    11 Nov 2020 – 31 Dec 2021

    Throughout the history of art, but especially in the last 150 years or so, there have been numerous painters whose works have been either inspired by dreams or carry a dreamlike resonance. One thinks of French Symbolists like Gustave Moreau or the fiercely original Henri Rousseau or any number of Surrealists who claimed to be guided by the promptings of the unconscious. Improbable events take place in unusual settings. A fiddler plays by firelight at the edge of gently roaring surf. A newly wedded couple floats in a small boat, navigating choppy waters filled with seals, dolphins, and what look to be aquatic dinosaurs. Francie Lyshak’s paintings from this show, most from a roughly ten-year period in the late 1980s and mid-90s, share the same qualities of enchantment and surprise—a certain dreaminess, if you will—that animates works by Rousseau or even Marc Chagall.

  • Katharine T. Carter & Associates

    Kaethe Kauffman: Making the Invisible Visible

    11 Nov 2020 – 31 Dec 2021

    A string dipped in paint and then wrapped around a woman’s back, neck, arm. The model makes a subtle shift, and it’s recorded in the smearing, smudging, blurring of the line. That simple movement is documented and temporal is made permanent in Kaethe Kauffman’s photographs in her continuing “Muscle Movement” series. A figure sits in a lotus pose, a yoga posture of meditation, of calmness. Yet within the silhouette is a welter of high-energy... These acrylic and oil paintings are from Kauffman’s also ongoing series, the “Mediators.” The photographs are cool, restrained, conceptual; the paints are hot, explosive, expressive. On a purely formal representation, action and stillness, but oddly so are Kauffman’s paintings. Although superficially different, they both emanate from the same aesthetic sensibility and the same desire to make the invisible visible, the artist’s job in Kauffman’s view. Just as the “Muscle Movement” series records the effort required to produce these deceptively straightforward images, so do Kauffman’s “Mediators”. She makes the striving to reach enlightenment as visible as she does the muscle movements of that series. -Karen Chambers, New York City

  • Katharine T. Carter & Associates

    Anne Hieronymus: Envisioning the Particular

    10 Nov 2020 – 31 Dec 2021

    Anne Hieronymus Envisioning the Particular/Selected Works What is singular and arresting in this exhibition of selected works by Anne Hieronymus is not only the type of world the artist creates for us, an alien world, but how she goes about constructing this alternative reality as it pertains to utter environmental destruction. Hieronymus’s world in certain ways seems to mimic our naturalistic earthly world, is specked with tendencies at once playfully and seductively childlike, while also unsettled by streaks of dystopian sensations and sinister associations. Anne Hieronymus employs a multiplicity of forms to map out an intricate world of her own making, and through this complexity, she manifests a motionless void for quiet contemplation. She is meticulous, insightful and self-assured, and unassumingly expresses the transitory nature of everything around us. Whether through her drawings, collages, photographs, or sculptures, the artist wants to activate what she terms an “out of placeness” sensation for the viewer, signaling that her work is a meditation on the mystery of unrelenting change. It is not surprising that for years the artist has been fascinated by ruins and the implication they bring up about earthly temporal existence.

  • Katharine T. Carter & Associates

    Kaye Freeman: Paintings

    10 Nov 2020 – 31 Dec 2021

    Kaye Freeman’s work is informed by diverse influences. The way she arranges an image mirrors the shifting perspective of classical Japanese landscape, while her knowledge of that country’s calligraphic tradition shapes her commitment to immediacy and narrative. She’s interested too in the symbolism of color using it to raise issues of gender and race alongside more formal concerns and in the religious associations of light. In her recent series City Paintings, Freeman explores the layered reality of Los Angeles, California her urban home. The artist is a keen observer of the varied and complex ways in which the locale’s diverse peoples and places harmonize and clash with one another. From actors to gang members, crumbling vintage structures to expansive new developments, she details a complex economic, social, and aesthetic matrix in which sunshine and darkness coexist. In another series, Freeman departs from the city to depict the rural landscape of Joshua Tree.

  • Katharine T. Carter & Associates

    Rob Mango: Rhapsody

    06 Nov 2020 – 31 Dec 2021

    For the artist Rob Mango, the city is a dream theater, the setting for an epic drama played out across space and time. The city is New York, with its familiar landmarks, but a fantastic Gotham populated by fierce and beautiful figures, imposing enough to rival the towers around them. These personages, from many epochs and cultures, seem to have emerged from an elevated realm where gods, warriors, and a panoply of mythic characters coexist. In Mango’s series Rhapsody, these figures each represent the artist in the changing symbolic guises of hero, fool, and magus. In his allegorical paintings, the artist is a shape-shifter who encounters the city’s terrors, alluring seductions, and startling epiphanies, but he himself is never fully knowable. At stake is the artist’s power to make his mark in the face the forces that would render him powerless, and then to rise again in a new form.

  • Katharine T. Carter & Associates

    John Lyon Paul: The Visionary at Work

    05 Nov 2020 – 31 Dec 2021

    John Lyon Paul’s Studies on Mylar and Glass, an ongoing series now including more than one hundred works, from which the paintings in the current show Spun from Light, Woven in Silence have been selected, began in 2010. The paintings in the series fall into three categories. The first is a group of imagined landscapes, with large forms that suggest gorges, rocky topography, and stormy skies. A second group of paintings employs a graphic X that implies an intellectual conundrum: a bold assertion of identity that at the same time aggressively negates that identity. The third kind of paintings are complex works in which abstract forms start to resemble organic and geometric images placed within an environment imagined from within. John Lyon Paul’s paintings are done either on glass, Mylar, or Acrylite. These materials give his art a fugitive quality, with the image forming and decaying before our eyes. Using acrylic paint on the reverse side of the clear supports, Paul employs a spectrum of painterly effects.

  • Katharine T. Carter & Associates

    Kathleen Elliot: Questionable Foods

    01 Nov 2020 – 31 Dec 2021

    In “Questionable Foods,” Kathleen Elliot still makes some use of glass but combines and juxtaposes her own flameworked structures and more manufactured-looking commissioned vessels with contemporary food packaging to explore some of the ways in which we are manipulated into consuming physically unhealthy and environmentally harmful products. The more recent series, Elliot again makes use of glass but incorporates collage elements to address the developed world’s problematic relationship with nutrition and the political and economic manipulation that surrounds and shapes it. Using gaudily designed packaging from cereal, candy, and other products, she questions the promise of independence, flexibility, and fun they hold out. What, she asks, are the physical and societal costs of accepting commercial hype and prioritizing convenience over lasting health? “Questionable Foods” collages and constructions made partly or entirely from packaging, become a tool for piercing the field of hyperbole and manipulation that surrounds the relentless marketing of food as a commercial product.

  • Katharine T. Carter & Associates

    Francine Tint

    15 Nov 2020 – 31 Dec 2021

    Francine Tint is a New York-based in artist whose career and current work reflect her long-standing involvement in abstract-expressionist art practice. Tint, whose paintings the famous critic Clement Greenberg regularly discussed in visits to her studios, has been influenced by earlier New York School practices--but without facile reiteration. Tint belongs to a small group of painters who are transforming a heavily trodden path into something quite free of excessive historical influence. So Tint is to be congratulated on her tenacious, innovatory revision of a great past in painting. As a painter, Tint relies on broad, more or less monochromatic backgrounds, usually embellished by abstract flourishes, whose uncertain outlines result in splotches and blurred forms that contrast with the single color behind them. These may be paintings whose general ambience feels familiar, but the works do in fact establish a formal vision, one close to poetry, that occurs as an independent reading of a popular style. Painterly lyricism is the best way to describe Tint’s art. Although she is a mature artist, Tint nonetheless commits her art to the current actions of the moment, new and visionary at once.

  • Katharine T. Carter & Associates

    Jenn Shifflet: A Meditative Approach

    01 Nov 2020 – 31 Dec 2021

    Jenn Shifflet’s art consistently mines the immaterial, but this ethereal quality is achieved through hard effort--for example, her glass relief pieces consist of myriad tiny glass beads, made from shards (called “frit” in the glass community) by the artist herself, the result of as many as ten firings for one work. The small glass spheres are laboriously placed with tweezers, one by one, on the surface on which they rest. Shifflet’s primary concern is communicating the transcendence of light, which exists as an underpinning for most of her work--the glass works especially. The artist’s recent paintings are usually circular, sometimes offering concentric circles, sometimes establishing what might be a landscape at the bottom of the circular composition. The condition of most of the paintings is atmospheric, leaning in the direction of a mist or fog, whose formal implications are deliberately hidden. Shifflet’s paintings and glass relief works both embody a usually abstract visionary intelligence but it must be remembered that the insight is framed by an unspoken attention to natural phenomena, supported by the ongoing experience of light. – Jonathan Goodman

  • Katharine T. Carter & Associates

    Rebeca Caldéron Pittman

    01 Nov 2020 – 31 Dec 2021

    Drawing for Rebeca Calderón Pittman is not just a way of translating form to page, but also of subsuming herself in the world around her. Her drawings are direct renderings from life; in Cincinnati, where she has lived for the past twelve years, and in Guatemala, where she grew up. The descriptive contour lines of her drawings form a kind of tracing of the realm of things – rooms and furniture, landscapes and plants, electronic devices and cables. Pittman’s interest in life is voracious and inclusive, with everything becoming potential subject matter. The current paintings have their origins in the Recombinant Drawings from 2011-2012. As their title implies, Calderón Pittman combined sheets of drawings from different settings to create a sense of life that is perpetually unfixed and unfinished. The drawings’ radical layering, fragmentation, and displacement plunge the viewer into a matrix of contradictory temporal and spatial cues. In her on-going series of paintings begun in 2016, the openness and space itself that are so essential to the drawings have become full and highly activated with color and physicality.

  • Katharine T. Carter & Associates

    Bobbie Moline-Kramer

    01 Nov 2020 – 31 Oct 2021

    In her most recent intimate mixed media paintings, Color-Coded Emotions, Bobbie Moline-Kramer moves us from clear representation to non-objective art utilizing veils of transition and transcendence. We see in each piece a symbolic conversion that varies in intensity and emotion depending on the expression of the previously painted portrait and the intensity of the ensuing abstraction. This ‘looking back at us’ makes the work somewhat interactive and engaging on a more personal level while the abstract elements create uncertainty. As Above, So Below is an on-going series of complex, layered paintings. In these highly energetic works, moving fields arise directly from worked pigment – flowing, gestural, and dripped. The shifting presence of signal and noise suggests the artist’s intimate knowledge of their workings as a unified field that is our lives. All that Remains, a series of square panels, displays crows who occupy bare branches, sometimes sharing them with images of fragmented photographs. This work evokes a deep personal history and with this intimacy conveys the mystery of family, with all its sense of loss and continuity. The series also includes a group of raw, fluid drawings of crows, alternately feisty and ghost-like presences, who seem to be valiantly making their way in a difficult world.

  • Katharine T. Carter & Associates

    Sol Hill: The Best Art Ever!

    22 Oct 2020 – 31 Dec 2021

    THE BEST ART EVER! is a guerrilla activist art project by artist Sol Hill aimed at resisting the orange agenda. This project is a fundraiser for organizations on the front line doing the hard work of the resistance. 100% of the "sales" price of the originals are to be tax-deductible donations made to 501c3 organizations such as the ACLU, The Union of Concerned Scientists, Planned Parenthood, The National Endowment of the Arts etc. The real intention of this project is to use art as a form of political resistance by examining this extraordinarily absurd and dangerous regime and rolling it up in a story telling PR campaign to raise Millions for the resistance. The original artworks are made out of ground up Cheetos cheese puffs and acrylic varnish and fake gold leafed lettering. The 20"x30" pieces are direct quotes. The 59"x59" showpiece The Best Art! I Guarantee It! reconfigures Agent Orange's language in the context of art to underscore the absurdity of his statements and reflect the bizarre and tenuous connection to reality of his message.

  • Katharine T. Carter & Associates

    Sparky Campanella: horizon

    15 Oct 2020 – 30 Sep 2021

    horizon A timely commentary on “borders”, “boundaries”, and “separation”, Sparky Campanella’s horizon series combines the natural world and human constructs with a geometric rigor that balances these two fundamentals. Each image is equally bifurcated into an upper and lower register, often with an expanse of organic nature on top and a barrier of man-made geometry below. The equal split in each image creates a fraternal horizon line, bringing the horizon’s calming power right to the viewer. Using a largeformat 4x5 film camera, Campanella is able to control the plane of focus in each image, allowing both foreground and background to be equally sharp. The resultant flattening of the photograph abstracts the scene away from a pre-conceived reality and towards his emotive intent. Campanella consistently succeeds in capturing brief moments of quiet revelation in his surrounding environment, turning banal urban landscapes into an iconic vocabulary of juxtapositions. Every photograph in horizon comes with an emotional impact that you feel in your gut. Yet there is a hint of logic in how both halves simultaneously oppose and complement one other, a realization that keeps you grounded and an attack of mild vertigo at bay

  • Katharine T. Carter & Associates

    London Amara - Ethos: The Alchemy of Spirit and Light

    15 Oct 2020 – 30 Sep 2021

    London Amara has created intimate black-and-white portraits and haunting images of the wooded landscapes of Florida, Ohio, California, and British Columbia. Employing the use of a singular technical strategy, she works on site in a portable darkroom made from an ice-fishing tent to produce large-format, collodian photographic images. Amara’s immersion in the visually marked cycles of biological life is juxtaposed and combined with intimate portraiture that depicts family and friends as bound up with the places they come from and inhabit. Her interest in the myriad formal and symbolic complexities of the body, not only as a biological entity, but also as the site of breaks in routines and relationships—is evident in her work and is now fully aligned with what she terms her “first language,” the wordless speech of the organic world.

  • Katharine T. Carter & Associates

    Susan Copich: Processing Normal

    15 Oct 2020 – 31 Dec 2021

    Susan Copich uses a classical sense of theater casting herself as both symbol and subject posed in idealized choreography. The drama is set in environments much like the painterly convention of "tableau vivant" with the open ended story seemingly frozen in time. The subject matter is the story of all women as they struggle within societal roles to defy them or be devoured by them. In each photo, Copich poses as an allegorical symbol creating a poetic moment. Rather than losing herself in personal revery, she deliberately engages and challenges the viewer who is forced into roles of at once witness, audience and accessory. The constant of the female actor either dressed as suburban cypher or traumatized victim is a portrait of the personal collapse cloaked in social symbols and mythology. As Susan writes about her work, "Because of the current conversation on power, sex, men and women, it is perhaps the first time in modern history that women's experiential perspective is on the table. It is upending existing norms and redefining the feminine side of the story, giving it voice and credibility; asking the female population to not only seek their truth, but to let it be heard; requiring each of us to re-evaluate our experiences and then to articulate with clarity and subtly a more enlightened existence; demanding that we no longer model ourselves and our revolutions after masculine role models, but reflect deeply on our authentic experience. All this is no easy task and one that requires bravery, exposure, success and failure" And the message is universal: No matter what kind of distance is created by the formalized, staged tableau of the "portrait", this space is undermined by an uncomfortable intimacy which inevitably illuminates the pain of living and the struggle for change.

  • Katharine T. Carter & Associates

    White Lies Matter

    22 Oct 2020 – 31 Oct 2021

    John A. O'Connor's "White Lies Matter" is a "corrective curriculum" revealing the unvarnished truth behind American History. These didactic visual lessons use old-fashioned elementary school slates, scribbled notes and antique photographs to re-teach American history. Intended as an educational textbook, this virtual installation presents the past, present, and future of American History, blending analog process to current digital translation.

  • Katharine T. Carter & Associates

    Museum Program Exhibition presented by Katharine T. Carter & Associates

    15 Oct 2020 – 31 Dec 2020

    These 24 established artists have had one-person exhibitions in museums throughout the country and have come together for the first time in a Virtual Gallery Exhibition. Curated by Katharine T. Carter and Jen Dragon, of Cross Contemporary Partners.

  • Katharine T. Carter & Associates

    INAUGURAL CROSS CONTEMPORARY PARTNERS EXHIBITION PART I

    01 Jul 2020 – 30 Jun 2021

    The eleven established artists curated for this exhibition enjoy distinguished careers spanning decades. Having exhibited in museums throughout the United States, this is the first time that these artists have shown their work in a virtual art gallery. The artists: Anne Hieronymus, Sol Hill, Kaethe Kauffman, Victoria Lowe, Francie Lyshak, Nancy Macko, Robert Mango, Deborah Masters, Bobbie Moline-Kramer, John Lyon Paul, Martin Weinstein

  • Katharine T. Carter & Associates

    INAUGURAL CROSS CONTEMPORARY PARTNERS EXHIBITION PART II

    17 Sep 2020 – 31 Dec 2020

    Cross Contemporary Partners opens another new virtual art exhibition space dedicated to the digital representation of artwork on the internet. The Cross Contemporary Partners Inaugural Group Exhibition Part II presents nine established artists whose distinguished careers span decades. The artists: Sarah Hinckley, Bassmi Ibrahim, Anne Marchand, Stewart Nachmias, John A. O'Connor,Dellamarie Parrilli, Lee Saloutos,Susan Sommer, and Gail Hillow Watkins have all exhibited in museums and galleries throughout the United States. This online exhibition is the first time that these artists have shown their work in a virtual online art gallery space with the illusion of over 650 square feet and 19.5 feet high ceilings.

    latest works

    • Anne Hieronymus

      Ware, 2018
      14 x 11.5 inch (h x w)
      discarded paper, Stickers, press type, and scotch tape on paper
    • Anne Hieronymus

      Nightie, 2018
      20 x 30 x 0.5 inch (h x w x d)
      C-Print
    • Martin Weinstein

      Peonies #1 (left), Peonies Morning (top), Flowering Cherry (bottom). , 2011
      27.2 x 24 inch (h x w)
      acrylic on multiple acrylic layers
    • Francine Tint

      Francine Tint Museum Wall Text by D. Dominck Lombardi
      50 x 88.9 inch (h x w)
    • Martin Weinstein

      Dahlias #3, 2010
      13 x 10 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Path, 2 Summers, 2012
      26 x 20 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Snow and river, 2 years, 2010-2011
      20 x 26 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      3 Years of Snow, 2013
      37 x 40 inch (h x w)
      Acrylic on acrylic sheet
    • Martin Weinstein

      Teresa #46, March/April, 2010
      37 x 45 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Teresa #47, June, 2010
      30 x 27 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Sun Dogs, 3X, 2012
      37 x 40 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Trawden #2, 2012
      10 x 13 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Climbing Rose, 2 Evenings, 2010
      30 x 27 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Looking South, October 2x, 2011
      20 x 26 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Kenoten, Autumns, 2010
      37 x 40 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Pond and Pendle, 2x, 2011
      10 x 13 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Higashiyama, Morning #1, 2011
      10 x 13 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Trawden, Two Evenings, 2010
      10 x 13 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      The Dahlia Bed, 2011
      51.3 x 55.7 inch (h x w)
      Acrylic on acrylic Sheets
    • Martin Weinstein

      Dogwoods and River, #1, 2011
      20 x 21.5 inch (h x w)
      Acrylic on acrylic Sheets
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