Midnite Sky, 2011

This black and white tapestry of millions of minuscule particles, derived from graffiti images randomly shuffled by a computer program, embodies the graphic qualities of constructivism, both in composition and in its chromatic reduction. By inserting color and a geometrical element, Tom Cohen creates another space altogether, where different visual concepts and technology are interacting within a single work—a practice known as combinatorial art.

Born and raised in New York City, Tom Cohen is a photographer whose digital practice stems from a love for technology and new media, and whose inspiration lies in everyday life. A graduate of Williams College with a degree in art history, Cohen's career as an entrepreneur has frequently intersected with both the art world and the ever-changing realm of innovative media.

Cohen's practice resides in the ancient tradition of combinatorial art—ars combinatoria—used in the Kabbalah, for example, to reveal infinite combinations of different elements within a single work, whether it be a text or a visual concept. In mathematics, this tradition is called permutation, and refers to objects that are continually shuffled within a contained space or theoretical realm. Since the 1960s, when the computer first entered people's imaginations, artists began using combinatorial art in their artistic production. At the time, Fluxus artists were exploiting the notion of random selections, as were artists like Sol LeWitt, who used endless permutations of color and shapes in his groundbreaking wall drawings. Most notably, the composer John Cage relied on chance operations derived from the ideas of the old Chinese book I Ching, and later from computer programs, to compose music and write texts.

Cohen is as interested in negative space as he is in bricks laid askew in the walls of a building. His recent photographs have focused on images of details of graffiti that he took in cities all over the world, including New York, London, Berlin, Cairo, São Paulo, and Paris. Like a composer, Cohen samples the visual images he collects with his camera, and recombines them digitally to make new visions of the world based primarily on color and form.

All our frames are manufactured in the USA, using eco-friendly and sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

For images up to 30" x 40"

• 1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.
• We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

For sheet sizes larger than 30” x 40" please contact an Artspace advisor for a custom quote.

Our art editions ship in 7 to 10 business days from New York.

Our framed art editions ship in 11 to 14 business days from New York.

This work is eligible for return within 30 days of receipt of delivery.

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