{"title":"Get Lucky: Go Green","description":"\u003cdiv style=\"text-align: center;\"\u003eIn lieu of a four-leaf clover, here's some greenery to fend off the unluckiness of the ides of March. If it works for the Irish, amirite? Shamrockin' it.\u003c\/div\u003e","products":[{"product_id":"ann-toebbe-red-plastic-plates","title":"Red Plastic Plates","description":"\u003cp\u003eI paint interiors from memory. I choose a room that I can recall in detail, like my parent's dining room in \u003cem\u003eRed Plastic Plates\u003c\/em\u003e. The original artwork is made from cut paper, which I paint by hand on my studio floor, then cut into the shapes that make up the room. The cut paper pieces are even flatter, more graphic and labor-intensive than my paintings, yet more physical, due to the layers of paper; up close, you can see the glue and little imperfections that don't exist in my paintings. Living on the East Coast made me acutely aware of the aesthetics of my midwestern upbringing. My experiences in New York and at Yale University cast my family's home and lifestyle in a different light: a pragmatic, mundane (and rather flat) sense of beauty, unburdened by high ideas or refinements of style. The combination of my earlier working-class tastes and the later-acquired, intensely cosmopolitan awareness of style has shaped who I am as a painter. \u003cem\u003eRed Plastic Plates\u003c\/em\u003e captures the humor of the culture clash I sometimes feel when I introduce new people to my family. My husband and stepson were visiting my parents' home in Cincinnati for the first time, and my mother, to my horror, insisted on serving dinner in the dining room on red plastic plates with plastic cups, plastic silverware and paper napkins. 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This is the place, as a child, I'd idealized as paradise. Despite their difference, I have tried to make pictures for both \u003cem\u003ePraia Piquinia\u003c\/em\u003e and \u003cem\u003eParadis\u003c\/em\u003e with new vision, or \"regard\", word that in French refers to observing. In English, appropriately, it also means attention, consideration, a feeling of affection, and respect. While rediscovering the islands, I found myself shifting my camera between earth, sky, water, trees...trying with every shot to get away from the so-called conventions of framing. An approach that aligns itself aesthetically with some of the Modernists in photography, I was intent on seeing the Seychelles without the weight of parameters. (Just large cameras!) Without our normal criteria for recognition, that which we look at can be renewed; new as in the first days of existence, breathing presence, light, and the incarnation of the world. In short, an image of paradise. So here, before these images, I hope for the viewer to feel exposed, like Adam or Eve before God invited them to name the elements of nature around them. Some subjects are challenging to identify at first, while others play off the glare in our eyes; but even slight disorientation has the potential to disarm, and stretch us. We may suddenly find ourselves more receptive, like a child who discovers the world without predispositions, without judgements that risk to reduce his or her imagination. \u003cem\u003eParadis\u003c\/em\u003e represents a departure, literal and formal, from \u003cem\u003ePraia Piquinia\u003c\/em\u003e. At the core level, I've traded the traditional portrait format for a square; but even the image titles reflect their differences. In the case of \u003cem\u003ePraia Piquinia\u003c\/em\u003e, they are determined by the precise time and date each photograph was taken, whereas with \u003cem\u003eParadis\u003c\/em\u003e, they are all called \"Sans Titres\"...untitled, unnamed and open to your interpretation.\u003c\/p\u003e","brand":"Christian Chaize","offers":[{"title":"11\"x11\"","offer_id":363781755,"sku":"4794","price":75.0,"currency_code":"USD","in_stock":true},{"title":"20\"x20\"","offer_id":363781757,"sku":"4793","price":500.0,"currency_code":"USD","in_stock":true},{"title":"35\"x35\"","offer_id":363781759,"sku":"4790","price":5000.0,"currency_code":"USD","in_stock":true},{"title":"50\"x50\"","offer_id":363781761,"sku":"4795","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/Te6PI5Cg52VmMRTBYKigG1p9VhjYF9w3njX1jGooK4I.jpg?v=1683229685"},{"product_id":"esther-pearl-watson-house-on-masters-street","title":"House on Masters Street","description":"\u003cp\u003eMy eccentric father's obsession with building spaceships out of scrap metal in the backyard often led to disastrous results, forcing our family to move again and again, one step ahead of trouble. Finding he'd set the field on fire with his careless use of an acetylene torch or that our TV had been pawned for a sheet of aluminum was not uncommon. My work has been about telling stories of the uncanny. For me, life has been simultaneously humorous and dysfunctional, marked by the banal struggle to pay bills and the visionary ambition to change the future. The value of memory is the awareness that one can reform the present. I make work that raises discussions and allows for transcendence beyond the centered self.\u003c\/p\u003e","brand":"Esther Pearl Watson","offers":[{"title":"8\"x10\"","offer_id":364328733,"sku":"4494","price":40.0,"currency_code":"USD","in_stock":false},{"title":"11\"x14\"","offer_id":364328735,"sku":"4493","price":85.0,"currency_code":"USD","in_stock":true},{"title":"16\"x20\"","offer_id":364328737,"sku":"4490","price":275.0,"currency_code":"USD","in_stock":true},{"title":"24\"x30\"","offer_id":364328739,"sku":"4491","price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/9P3kudczjwodkPKKQrcXMX8ZR4YCXra-jvc7hjp6aPw.jpg?v=1683228675"},{"product_id":"laura-plageman-response-to-print-of-kudzu","title":"Response to Print of Kudzu, Texas","description":"\u003cp\u003e\u003cem\u003eResponse\u003c\/em\u003e series: In this series I am responding to photographs both as representations and tangible objects. Through physically altering enlarged prints and then re-photographing the results, I create works that oscillate between image and object, photography and sculpture, landscape and still life. While they may appear illusory, the resulting pictures are documents of actual events and are thus as authentic as the original representational images contained within. My process unfolds through observation and experimentation: I let the image and its materiality dictate its direction. Playing with paper and with light in unplanned and organic ways, I look for new ways to perceive the space, form and context of my subjects. In some works, large pieces of the original image are torn out, while in others, smaller parts are more subtly altered. I use a large-format view camera throughout my process so I can control perspective and record as much detail as possible. 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Through physically altering enlarged prints and then re-photographing the results, I create works that oscillate between image and object, photography and sculpture, landscape and still life. While they may appear illusory, the resulting pictures are documents of actual events and are thus as authentic as the original representational images contained within. My process unfolds through observation and experimentation: I let the image and its materiality dictate its direction. Playing with paper and with light in unplanned and organic ways, I look for new ways to perceive the space, form and context of my subjects. In some works, large pieces of the original image are torn out, while in others, smaller parts are more subtly altered. I use a large-format view camera throughout my process so I can control perspective and record as much detail as possible. Whether focused on a ripped paper edge or a nesting bird, I hope to reach a place where picture elements interact and merge in unpredictable and expressive ways.\u003c\/p\u003e","brand":"Laura Plageman","offers":[{"title":"10\"x8\"","offer_id":364372837,"sku":"5108","price":40.0,"currency_code":"USD","in_stock":false},{"title":"14\"x11\"","offer_id":364372839,"sku":"5109","price":85.0,"currency_code":"USD","in_stock":true},{"title":"20\"x16\"","offer_id":364372841,"sku":"5110","price":275.0,"currency_code":"USD","in_stock":true},{"title":"30\"x24\"","offer_id":364372843,"sku":"5111","price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/ymaUJDYYsL8yuMzrr7ms6tlQveIw1NZkbkjHQ5L8jiM.jpg?v=1683229942"},{"product_id":"mark-ulriksen-gone","title":"Gone!","description":"\u003cp\u003e\u003cem\u003eGone!\u003c\/em\u003e is a tribute to the beautiful ballpark and setting that is the home of the San Francisco Giants. The park opened in 2000 and I painted this in 2002 after touring the offices of \u003cem\u003eThe New Yorker\u003c\/em\u003e magazine. I was visiting from my native San Francisco when the esteemed baseball writer and \u003cem\u003eNew Yorker\u003c\/em\u003e editor Roger Angell called me into his office. He was enamored with this new ballpark and asked me to paint something and then he would write a story about it. Talk about dreams coming true! Armed with a press pass and video camera, I toured the park and decided that a painting set from right field would provide an excellent view of the park's eccentricities, like the giant coke bottle slide and worn leather glove, as well as a slight view of the Bay Bridge. But once I started sketching I realized that the dimensions of the magazine meant my composition would be too horizontal for the two-page spread I had to fill. That's when I decided to include the surrounding environs, the bridge, Treasure Island, the foothills of Oakland and Berkeley across the bay and McCovey Cove, in order to make a scene that would fit the magazine's dimensions. Naturally, a Barry Bonds \"splash hit\" would capture the essence of that year's Giants team. I like to add small details in big paintings like this to amuse those who pay too much attention to such things. On the scoreboard, the hated LA Dodgers are losing 10-0 in the first inning, while in mile-high Colorado the score is 22-18 after only one inning. You can see some Mets fans arguing in the stands about the action and there's one fan with his arms held high in happiness. That would be me. When I painted this the park was named after a regional phone company, Pacific Bell, and was known locally as Pac Bell Park. A few years later the park's name was changed to SBC Park after one phone company bought up another one. After yet another merger in the corporate phone world, the American Telephone and Telegraph company took over SBC, and now our local ballpark is called AT\u0026amp;T Park. For now, at least.\u003c\/p\u003e","brand":"Mark Ulriksen","offers":[{"title":"8.5\"x11\"","offer_id":364381753,"sku":"5817","price":40.0,"currency_code":"USD","in_stock":false},{"title":"11\"x14\"","offer_id":364381755,"sku":"5818","price":85.0,"currency_code":"USD","in_stock":true},{"title":"17\"x22\"","offer_id":364381757,"sku":"5819","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/rkszS-fVeA0Ak8ZwM4qGq5fPkNtmovivd6uP6b1ModY.jpg?v=1683229487"},{"product_id":"michelle-arcila-eivind","title":"Eivind","description":"\u003cp\u003eI made this photograph while on the southeast coast of Norway. I was staying with Eivind at his family's home while he was working on a record. 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I thought of the balloons as these little creatures that would spring up in the woods every time a song hit a special moment or melody.\u003c\/p\u003e","brand":"Michelle Arcila","offers":[{"title":"8\"x8\"","offer_id":364383205,"sku":"2592","price":40.0,"currency_code":"USD","in_stock":false},{"title":"11\"x11\"","offer_id":364383207,"sku":"2591","price":85.0,"currency_code":"USD","in_stock":true},{"title":"16\"x16\"","offer_id":364383211,"sku":"2590","price":275.0,"currency_code":"USD","in_stock":false},{"title":"24\"x24\"","offer_id":364383213,"sku":"2593","price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/InstallShots_SQ_37.png?v=1744824433"},{"product_id":"rachell-sumpter-bonfire","title":"Bonfire","description":"\u003cp\u003eRachell Sumpter paints small and big splendors into a desolate, peopled wilderness. Using layered gouache and pastel, she paints scenes that are at once of community and of isolation. Figures stand in heavy, embroidered clothing, hidden and yet seen, in procession, in ceremony or in witness to a wonder. There are melting mountain tops and bonfires, ghosts and graves; vast monuments and intimate moments that speak to the legacies a generation leaves, to the promises it makes. Sumpter borrows symbols from religious and political traditions, from dreams, from our threatened natural world. And yet, amid these artifacts, memories and future relics, there is a human closeness, a physical intimacy. This lends an optimism to what might otherwise seem an elegy. In this bleak and changing landscape there are celebrations as well as lamentations, and with deceptively simple strokes she creates an iconography for the longed-for and the feared: a mythology of mystery, pleasure and the foreshadowing of loss.\u003c\/p\u003e","brand":"Rachell Sumpter","offers":[{"title":"8\"x10\"","offer_id":364839343,"sku":"5651","price":40.0,"currency_code":"USD","in_stock":false},{"title":"11\"x14\"","offer_id":364839345,"sku":"5652","price":85.0,"currency_code":"USD","in_stock":true},{"title":"16\"x20\"","offer_id":364839347,"sku":"5653","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/FIQ4UuxAoL1JTRWkBoNC6Wh9yxCnhkH3kxxcPbmhGR8.jpg?v=1683228912"},{"product_id":"tod-seelie-green-branches","title":"Green Branches","description":"\u003cp\u003eI took this photograph while spending a month in Brazil. 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From a lifetime of being carried and placed on pedestals of all shapes and sizes, boxes, bikes, tractors and chairs, my dogs have learned to wait and settle into position. But of all my dogs, past and present, Batty (the dog in this picture) was the most flexible and blasé about posing. It was not uncommon for Batty to fall asleep while posing. In this case, she stayed awake.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Architects\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLike Wright's famous masterpiece Fallingwater, Le Corbusier's Ronchamp Chapel is an excellent subject for the camera. It presents itself perfectly for the lens. Some years ago I visited Fallingwater and was amazed at how complex and big it was. I have never been to Ronchamp but wrote a paper about it in art school (so I know nothing). The pictures I have seen tend to all be from one particular angle, just below the skyline. I love looking at and thinking about this building. On the other hand, I care nothing about golf, so when I came across a postcard with several figures on a lawn, I had to strain to notice that they were watching golf. I imagined four of the figures as architects. And that gave me the idea. I found cards of four separate buildings, including Ronchamp, that were equivalent in size and position. The horizon lines matched and I was able to begin annexing them with watercolor, finally giving the golf audience something to look at. I first began to alter my own photographic works in the mid-seventies. Since then, I have become increasingly interested in the resurrection and relocation of found images. Postcards are an excellent repository of these, and I have been using them in my work since 1995. With painted additions I can connect disparate properties and places and give them new life, create a new space. I am fascinated by the range and variety of postcards. 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Two painters from the Bay Area were recruited, Don Davis and Rick Guidice, to provide realistic, though futuristic, takes on human life inside a space colony.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTorus Interior AC75-2621 5718\u003c\/em\u003e\u003cspan\u003e depicts a toroidal colony design (in mathematics a toroid is a donut-shaped object). \u003c\/span\u003eUp to 10,000 people could live and work in this home away from home. Natural sunlight was possible, according to the plans, due to solar power, gravity could be regulated through the constant rotation of the Torus, and there'd be a pipeline shuttling goods and services back and forth to earth so you'd never be without. Earth was never too far away from these colonies, that was part of the allure.\u003c\/p\u003e\n\u003cp\u003eDon Davis, who painted this scene, hoped that this romantic depiction would entice everyday sorts of people to want a home that floats in the sky. 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In the 1970s, the space industry believed the cosmos could be harnessed as a potential real estate hub (just as the tech industry today continues to mine the depths of the web for more and more online real estate).\u003c\/p\u003e","brand":"Space Editions","offers":[{"title":"8\"x10\"","offer_id":903019593,"sku":"6391","price":40.0,"currency_code":"USD","in_stock":false},{"title":"11\"x14\"","offer_id":903019589,"sku":"6392","price":85.0,"currency_code":"USD","in_stock":true},{"title":"16\"x20\"","offer_id":903019597,"sku":"6393","price":275.0,"currency_code":"USD","in_stock":true},{"title":"24\"x30\"","offer_id":903019601,"sku":"6394","price":1100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/InstallShots_SQ_11_6c057abc-2989-4612-99a5-464dfd70fed0.png?v=1743431538"},{"product_id":"montgomery-st-2225-2303-tivoli-ny","title":"Montgomery St, 2225-2303, Tivoli, NY","description":"\u003cp\u003e\u003cspan\u003ePete has always been a night person. 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I begin each piece with a photographic image, which I print in sections, cut up and reassemble onto a panel. I then paint over the entire image, covering up and altering anything that feels unnecessary or distracting while turning up the volume on the parts that resonate with me. This process echoes the way we each edit, reconstruct and retell our own memories in order to make sense of them. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSeptember Shade\u003c\/em\u003e is a continuation of a series I began in 2008 based on photos I took of old lawn chairs in my mother's yard and on my grandmother's porch. I especially loved the way I would find them arranged at angles in small groupings - evidence of the conversations and connections during their last use. These days, the chairs I paint are usually part of my own ever-expanding collection that fill my basement, porch and attic. I approach this current series more as portraiture than suburban landscape or still life. 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The expansive collection covers 38 plant families in total.\u003c\/p\u003e\n\u003cp\u003eThe three pieces here each depict three different berry plants by three different artists: \u003cem\u003eRubus: Golden Queen \u003c\/em\u003epainted by Ellan Isham Schutt, \u003cem\u003eRubus: Black Pearl \u003c\/em\u003ecreated by Royal Charles Steadman, and \u003cem\u003eFragaria: Early Ozark \u003c\/em\u003eby Amanda Almira Newton (the woman also behind the vibrant, juicy \u003ca href=\"https:\/\/20x200.com\/products\/prunus-persica\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cem\u003ePrunus Persica: J.H. Hale\u003c\/em\u003e\u003c\/a\u003e). 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Historically, humans have used this sharing of experience to pass on knowledge, beliefs, values, secrets and information. Through stories we explain how things are, why they are, and our role and purpose, and these stories have become both the building blocks of knowledge and the foundation of memory and learning. Today, the visualization of our personal stories is an integral and essential part of the human experience. My body of work in visual storytelling combines the narrative text of a story with a variety of creative elements to augment and enhance the traditional storytelling process. It is also dependent on the observer—the witness to the story—as any participant interprets their worldview through the filter of their own perceptions. By design, it is a co-creative process resulting in an intimate mutually expressive experience. My work centers on the combination of language and image to create immersive linear stories. I use mixed media--typography, fabric, string, Lucite, etc, to create narrative experiences for myriad audiences. I believe that my interaction with the museum visitors can inform my process by providing immediate responses, feedback and engagement. My overall goals are to create authentic large-scale visual representations of the human experience through people, perception, language and image.\u003c\/div\u003e","brand":"Debbie Millman","offers":[{"title":"10\"x8\"","offer_id":27735014929,"sku":"7148","price":40.0,"currency_code":"USD","in_stock":false},{"title":"14\"x11\"","offer_id":27735013329,"sku":"7149","price":85.0,"currency_code":"USD","in_stock":true},{"title":"20\"x16\"","offer_id":27735018065,"sku":"7150","price":275.0,"currency_code":"USD","in_stock":true},{"title":"24\"x20\"","offer_id":27735019089,"sku":"7151","price":775.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/InstallShots_SQ_13_7ebc5482-d859-4f73-84ad-292911b468ca.png?v=1746040542"},{"product_id":"semi-double-tree-peony","title":"Semi-Double Tree Peony","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis illustration of the semi-double tree peony appeared in volume 17 of \u003cem\u003eEdwards’s Botanical Register\u003c\/em\u003e, published in 1831. In the text accompanying this plate, John Lindley wrote that the \u003cem\u003eRegister\u003c\/em\u003e was “indebted to the Earl of Mountnorris”, who raised the tree peony from seed and supplied Lindley and the illustrator Sarah Ann Drake with specimens from which Drake “figur[ed] this beautiful variety of the Tree Pæony”. This was indeed an impressive feat, as tree peonies take much longer to grow than garden peonies. They’re well worth the wait, with larger, hardier flowers that last longer once cut. The “semi-double” categorization refers to the number of petal rows: a semi-double peony has more than one row of petals coming out of the crown of the flower, but the anthers are still visible when the flower is in bloom. This striking coloration—white petals with a deep purple center—is typical of the Cora Louise variety of semi-double peony.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEdwards’s Botanical Register\u003c\/em\u003e was initially dubbed \u003cem\u003eThe Botanical Register\u003c\/em\u003e when it was begun in 1815 with Sydenham Edwards at the helm. After Edwards died in 1819, the illustrated horticultural magazine passed into the hands of its publisher, James Ridgway. It exchanged hands again in 1829 to John Lindley, who renamed the magazine \u003cem\u003eEdwards’s Botanical Register\u003c\/em\u003e. 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Now at over 200 plates, the series seeks to explore a range of themes in popular culture, including the role of the individual in fashion, in history, in the artistic imagination and more broadly, the collective consciousness. The body of work draws its inspiration from a wide spectrum of sources, such as Magical Realism, Surrealism, and Symbolism. More specifically, it references cultural artifacts like talismans, idols, totems and all of the material detritus that surrounds us at all times. These characters are composites embodying notions of “the warrior”, vulnerability, industry, the universal, and the personal. 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Created for a site-specific installation at the Los Angeles airport, the Ventanas series evokes the experience of looking through a prism or window, where geometric shapes break up the scape into series of fractured shapes and spaces. This looking can take many forms: looking out from inside an airplane, as new geographies come into view beyond or below, or peering in at the carefully orchestrated universe of form, color and logotype to be found within the aircraft one is about to board. \u003c\/span\u003e","brand":"Carolyn Castaño","offers":[{"title":"10\"x8\"","offer_id":7166977966108,"sku":"7413","price":40.0,"currency_code":"USD","in_stock":false},{"title":"14\"x11\"","offer_id":7167001427996,"sku":"7414","price":85.0,"currency_code":"USD","in_stock":true},{"title":"20\"x16\"","offer_id":7167002705948,"sku":"7415","price":275.0,"currency_code":"USD","in_stock":true},{"title":"30\"x24\"","offer_id":7167013257244,"sku":"7416","price":1450.0,"currency_code":"USD","in_stock":true},{"title":"40\"x30\"","offer_id":7167016304668,"sku":"7417","price":2650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/SkQseti4RiyFldQ4xOJpFeLwluXo2MEnJV-tLoJPpV4.png?v=1683230202"},{"product_id":"carolyn-castano-tropical-geometries-ruana-interruption-red-and-gold","title":"Tropical Geometries Ruana Interruption (Red and Gold)","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn my works, landscape and pattern are used to reimagine this tale of modernity and progress in the Americas. 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The geometry in the drawings--traditional and modernist--operates on a separate plane than the landscape, and proposes an open-ended simultaneity of cultures, and an alternate imaging of Latin American modernity and futurity. \u003c\/span\u003e\u003cbr\u003e","brand":"Carolyn Castaño","offers":[{"title":"10\"x8\"","offer_id":32157642489950,"sku":"8070","price":40.0,"currency_code":"USD","in_stock":true},{"title":"14\"x11\"","offer_id":32157642522718,"sku":"8071","price":85.0,"currency_code":"USD","in_stock":true},{"title":"20\"x16\"","offer_id":32157642555486,"sku":"8072","price":275.0,"currency_code":"USD","in_stock":true},{"title":"30\"x24\"","offer_id":32157642588254,"sku":"8073","price":1450.0,"currency_code":"USD","in_stock":true},{"title":"40\"x30\"","offer_id":32157642621022,"sku":"8074","price":2650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/Untitleddesign_45.png?v=1741980866"}],"url":"https:\/\/20x200.com\/collections\/get-lucky-green.oembed?page=2","provider":"20x200","version":"1.0","type":"link"}