Artsper Is the Online Art Collector’s Best-Kept Secret

October 11, 2021

Colossal

Artwork by Luciano Cian, “Kuhle #4” (2021). All images by Artsper

The online art market boomed during the pandemic, and there’s no sign of it slowing down anytime soon. As people adjust to spending more of the workday at home, the need for art and access to an art collection becomes more apparent. That’s where online art buying comes in.

While there are many places to find art online, it’s hard to know what’s authentic and where to invest your money. That’s why so many collectors use Artsper.

Artsper is an online platform that connects art galleries to a global audience. Rather than buying mass-produced artworks from a warehouse, Artsper allows collectors to buy original pieces directly from galleries, thereby supporting their artists. With an intensive approval process and trusted gallery partnerships, the platform verifies that collectors are not only getting the real thing but are doing so at a great price.

The diverse range of art available online is another reason people have turned to buying digitally. Artsper offers over 170,000 artworks from more than 1,800 of the world’s leading galleries, so there’s something for everyone’s taste. Whether you prefer sculpture, photography, paintings, or prints, you can find any medium without limits when collecting online.

While it may at first seem difficult to narrow down your choices with this many options, those who are new to collecting will be reassured to hear that Artsper offers free art advisory, lifestyle and interior design interviews, articles on art market trends, and themed collections to help build inspiration. For example, if you’re a fan of minimalist interior design, you can discover Scandinavian styles, stunning landscapes, and so much more from blue-chip artists, all at your fingertips. Explore Artsper’s expertly curated selection of artworks to find the next great piece for your home.

Art collecting online has changed the game for art lovers. Gone are the days of exhibition exclusivity; on Artsper, collectors come with budgets ranging from $100 to $100,000. With works from masters like Pablo Picasso and Sophie Calle as well as the newest emerging artists, it’s no wonder collectors rely on the online marketplace to diversify their space.

Ready to see why Artsper is the online art collector’s best-kept secret? Start learning about the art market and collect your next piece at Artsper.com.

 

Artwork by Elitsa Baramo, “Ecstatic” (2020)

Artwork by Daniel Convenant, “Sans titre N°16” (2020)

Artwork by Sylvie Groud, “Arche Idéale” (2015)

Artwork by Felenzi, “Aubrac 2” (2015)

 

 



Art

Artificial Neon Lights Illuminate the Idyllic Environments Painted by Artist Gigi Chen

October 8, 2021

Grace Ebert

“A Good Foundation” (2021), acrylic on wood, 20 x 20 inches. All images © Gigi Chen, shared with permission

In her vibrant, neon-lit paintings, artist Gigi Chen intertwines ornate jewelry, graffiti, and glowing signs emblematic of urban life with foliage, feathers, and wide expanses of sky. Her acrylic pieces center on birds and other small animals in their natural environments with surreal, manufactured additions: a heron cradles a bright pink house on its back, two rabbits peer over a bush at an illuminated parking sign, and an owl carries an old payphone across a glacial landscape.

A lifelong New Yorker, Chen tells Colossal that once her family immigrated to the U.S. from Guangdong, China, when she was eight months old, they didn’t often venture beyond the city’s confines. “The fear of not being able to communicate clearly with strangers was very prevalent growing up, and it really restrained us from doing too much traveling during my early childhood even though my parents could drive,” she says, noting that it wasn’t until an artist residency in Vermont when she was 18 that she found herself interacting with nature. “I realized how small the Big City really is. I was terrified of the pitch blackness, the dense forest, and the dirt and the bugs. But I was totally in love and overwhelmed by how sublime and random nature is.”

These early experiences continue to impact Chen’s work as she confronts lush, forest ecosystems and cloudy sunsets through the lens of city life. “The dichotomy of the neon onto natural subjects like leaves and birds and trees makes for beautiful metaphors about how people relate to the flora and fauna,” she says. “Adding artificial light sources to a natural environment helped me to reimagine and expand the kinds of stories I could tell and broaden how I could convey personal messages.”

 

“Home Away From Home Away From Home” (2021), acrylic on wood, 20 x 24 inches

Many of the animal protagonists embody the artist’s experiences particularly those in her new series Light My Way Home, which is on view through October 24 at Antler Gallery in Portland. The metaphorical works are ruminations on home, family, and the security those two provide, and the pieces often portray the artist and her sisters as red-winged blackbirds with her late mother as the blue heron. “Home Away From Home Away From Home,” which depicts the three smaller birds encircling the other as she flies away, “represents what happened after the death of my mother,” Chen says. “Here, we are seeking the sense of safety and stability that my mother once represented to us and endlessly chasing the Ideal of Home.”

In addition to Light My Way Home, Chen also has paintings available through Stone Sparrow Gallery and Deep Space Gallery, and you can follow her works on Instagram. (via Supersonic Art)

 

“Curiously Illuminated” (2021), acrylic on wood, 16 x 20 inches

“Finding A Spot” (2020), acrylic on wood, 11 x 14 inches

“Three Voices & A Song” (2021), acrylic on wood, 20 x 24 inches

“The Open Pigeon” (2020), acrylic on wood, 5 x 7 inches

“Call Me” (2021), acrylic on wood, 20 x 24 inches

“Lighting The Way” (2021), acrylic on wood, 16 x 20 inches

 

 



Art

Unearthly Anatomical Works Sculpted in Crystal and Glass by Debra Baxter Explore Grief and Loss

October 8, 2021

Grace Ebert

“Catch your Breath” (2021), alabaster, bronze, and druzy snow chalcedony, 10 x 10 x 5 inches. All images courtesy of form & concept, shared with permission

Artist and jewelry designer Debra Baxter (previously) explores the endurance of grief, mortality, and human bonds in Love Tears. Comprised of anatomical and figurative sculptures, the multifaceted series blend alabaster, quartz, and wood with delicate glass or metal to create forms that contrast the fragility of the body and natural world with the rugged topographies of crystals and rock.

Simultaneously corporeal and unearthly, the spliced works evoke the Victorian tradition of mourning jewelry, which used various motifs and deep colors as memorials. In “Catch Your Breath,” for example, branch-like veins in bronze sprawl throughout crystalline lungs, while “Love Hard” bisects a smooth, glass heart with spiky quartz. “There’s inevitable pain in every form of love,” Baxter says about the series. “I’m fascinated by the ways in which we decorate this grief and mourning, and I wanted to see how far I could push myself with balancing the immediate, often ornate, demonstration of loss, and my use of permanent materials. This is about loss and legacy.”

Love Tears will be on view at Santa Fe’s form & concept gallery from October 29, 2021, to January 15, 2022, and you can find more of Baxter’s bodily works on Instagram.

 

“Crystal Brass Knuckles (forever)” (2021), sterling silver and quartz, 5 x 4.5 x 2 inches

Left: “Soften the Blow” (2021), walnut and glass, 9.25 x 10 x 7.5 inches. Right: “Tear Jerker” (2021), alabaster and glass, 9 x 6 x 6 inches

“Love Hard” (2020), glass and quartz, 8 x 3 x 3.5 inches

Left: Detail of “Ear to the Ground” (2020), alabaster and glass, 10 x 4 x 3 inches. Right: “See No Evil” (2020), alabaster and green onyx, 12 x 7 x 4 inches

“Holding It Together” (2021), bronze and amethyst, 9 x 16 x 5 inches

 

 



Art

Marred with Dark Hole Punches, Monochromatic Drawings and Paintings Evoke Depression-Era Negatives

October 8, 2021

Grace Ebert

All images courtesy of Hashimoto Contemporary, shared with permission

Nearly a century since it began, the Great Depression is still largely associated with the iconic imagery that’s come to define the era. Dorothea Lange’s “Migrant Mother” and Walker Evans’s portrait of the distinctly tight-lipped Allie Mae Burroughs are two foundational shots that establish the period’s visual record, and they accompany the approximately 175,000 photographs also commissioned by the U.S. Farm Security Administration during those years.

While vast in number, this collection is understood today as being limited in scope, particularly in relation to its failure to reflect racial diversity, because the head of the FSA from 1935 to 1941, Roy Stryker, effaced images he felt didn’t align with the agency’s goals. When he wanted to reject a photo and prevent its dissemination, he would mark it with a hole punch, an erasure that Tulsa-based artist Joel Daniel Phillips evokes in his striking series Killing the Negative Pt. 2.

The ongoing project reimagines intimate portraits and wider shots from that period as meticulous graphite and charcoal drawings and oil paintings in shades of red. Monochromatic and ranging from small portraits to life-sized renderings, Phillips’s works complicate the narratives expunged from the historical record by focusing on a wider and more diverse swath of the population. “When the black voids of Roy Stryker’s hole punch are placed front and center, the reality of just how much power that a single, White man had to shape the narrative re-frames and re-defines the entire discussion,” the artist said in an interview about the first part of the project.

Included in Killing the Negative Pt. 2, which runs from October 9 to 20 at Hashimoto Contemporary’s new Los Angeles gallery, are glimpses into both rural and urban life with large-scale paintings of an older farmer, young girl outfitted in a frilly dress, and a panoramic shot of a migrant family and their makeshift living quarters. One smaller work (shown below) recreates a selfie that FSA photographer John Vachon snapped “in a hotel room mirror while on assignment. He took several of these, and apparently, Roy Styker (the head of the FSA) particularly hated this one, since he punched it twice,” the artist writes.

To see more of Killing the Negative, head to Phillips’s site and peek into his process on Instagram.

 

 

 



Art

Aerial Net Sculptures Loom Over Public Squares in Janet Echelman's 'Earthtime' Installations

October 7, 2021

Grace Ebert

“Earthtime 1.78” (2021), Vienna. All images © Janet Echelman, shared with permission

Suspended in public squares and parks, the knotted sculptures that comprise Janet Echelman’s Earthtime series respond to the destructive, overpowering, and uncontrollable forces that impact life on the planet. The artist (previously) braids nylon and polyurethane fibers into striped weavings that loom over passersby and glow with embedded lights after nightfall. With a single gust of air, the amorphous masses billow and contort into new forms. “Each time a single knot moves in the wind, the location of every other knot in the sculpture’s surface is changed in an ever-unfolding dance,” a statement about the series says.

The outdoor installations are modeled after geological events so catastrophic and powerful that they slightly impact the planet’s rotational speed. Each title refers to the number of seconds shaved off the earth’s day because of that occurrence, with “Earthtime 1.78” referring to Japan’s 2011 earthquake and tsunami and “Earthtime 1.26” speaking to a 2010 tremor in Chile.

Containing innumerable knots and weighing hundreds of pounds, the monumental nets are the product of countless hours and a team of architects, designers, and engineers who interpret scientific data to imagine the original form. Each mesh piece begins in the studio with techniques done by hand and on the loom, and the threads are custom-designed to be fifteen times stronger than steel once intertwined. This allows them to withstand and remain flexible as they’re exposed to the elements, a material component that serves as a metaphorical guide for human existence.

Echelman will exhibit an iteration of “Earthtime 1.26” in Jeddah from December 2021 to April 2022, with another slated to be on view in Amsterdam this winter. You can see more of the prolific artist’s works on her site and Instagram.

 

“Earthtime 1.26” (2021), Munich

Detail of “Earthtime 1.26” (2021), Munich

“Earthtime 1.78” (2021), Vienna

“Earthtime 1.78” (2021), Helsinki

“Earthtime 1.78” (2021), Vienna

“Earthtime 1.78” (2021), Borås, Sweden

 

 



Art

'Medicinal Flowers of Lebanon' by Faith XLVII Sprout from the Damaged Streets of Beirut

October 7, 2021

Grace Ebert

Rosa Canina. All images © Faith XLVII, shared with permission

Rosehips, horned poppies, and an African carline thistle grow from the debris and ruined buildings in Beirut following a mural series by Faith XLVII. The South African artist (previously) traveled to the Lebanese city this September as part of Underline—the ongoing project is helmed by the art collective Persona in collaboration with the Hamra-based NGO Art of Change, which is focused on using public works for protest and to spark change—to paint a collection of curative flowers that appear to sprout from the rubble.

Contrasting their dainty forms to the rugged landscape, the metaphorical works in Medicinal Flowers of Lebanon lead “us along the brittle sites of Beirut, tracing past and present scars etched into the city,” the artist says. “Each flower urges us in a sense, towards healing as they grow out of the concrete.” The chosen botanics are remedies for common ailments, like using chicory to treat gallstones or slathering clematis paste on skin infections, and they rely on the strength of their natural properties to cure wounds that are both visible and not.

 

Carlina Involucrata

Faith’s visit to Beirut came amidst a period of crisis following the devastating port explosion on August 4, 2020, that left the country without a fully operative government for 13 months and accelerated its economic collapse. “The people of Lebanon have had many dire challenges over the decades, and the expectation for them to be resilient is exhausting,” the artist says, explaining further:

Even in a time with four hours of electricity a day and waiting for hours for petrol that might run out before you make it to the front of the line, where your life savings are suddenly worth nothing, even in this time, there are still some rays of hope. There are many people and organizations working to improve the conditions of others. So when we are abused abandoned by the custodians of justice and governance, it is the people themselves who pick up the debris and assist each other in healing. That is what the series Medicinal Flowers of Lebanon speaks to.

Persona and Art of Change are bringing several artists to Beirut for Underline, and you can follow those projects, along with Faith’s outdoor works, on Instagram.

 

Cichorium intybus

Clematis flammula

Glaucium flavum

Asphodelus microcarpus

Clematis flammula

The artist working on Clematis flammula