A.P.Polo - Recycling

A P POLO

# 328026

A.P.POLO - RECYCLING

Name: A.P.Polo - Recycling by A P Polo Wall Art
Brand: Pictorem
SKU: 328026
Availability: InStock

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A.P.Polo - "Recycling" - Hamburg (Germany) - New Media Art. Abstract, contemporary work of art that attempts to represent the concept of recycling in ...[+]

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Giclée Canvas Print

All our stretched Canvas are custom made on a Premium Fine Art Matte Canvas 410g/m2 1.5 Inch Thick wood for a real gallery look
Giclee printing with Pigment ink designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. [+]

A.P.POLO - RECYCLING A P POLO Canvas Print

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Stretched Canvas Print We ship in USA & Canada

Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

Stretched Split Canvas

36 x 36 triptych - split canvas
39 x 36 inches including space.
3X [ 12x36 ]
^$344

36 x 36 cross triptych split canvas
39 x 36 inches including space.
1X [ 12x36 ] 2X [ 12x30 ]
^$344

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Acrylic Print

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Get a Modern piece of art with this vibrant Acrylic Print.
Fine Art made from a Premium polished, best-in-class, 99.9% optically pure acrylic and the latest Flatbed printing craftmanship.

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Free shipping in USA and Canada

Acrylic Print with Floating Frame on the back

Printed to the edge & Ready to hang. With a floating frame on the back and hanging wire

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 20 inches

51 x 51 cm

1/8 - Back Frame Mount

^$208

24 x 24 inches

62 x 62 cm

1/8 - Back Frame Mount

^$271

30 x 30 inches

77 x 77 cm

1/8 - Back Frame Mount

^$388

36 x 36 inches

92 x 92 cm

1/8 - Back Frame Mount

^$530

42 x 42 inches

108 x 108 cm

1/8 - Back Frame Mount

^$875

48 x 48 inches

123 x 123 cm

1/8 - Back Frame Mount

^$1069

3/16" Thickness:

20 x 20 inches

51 x 51 cm

3/16 - Back Frame Mount

^$282

24 x 24 inches

62 x 62 cm

3/16 - Back Frame Mount

^$362

30 x 30 inches

77 x 77 cm

3/16 - Back Frame Mount

^$510

36 x 36 inches

92 x 92 cm

3/16 - Back Frame Mount

^$690

42 x 42 inches

108 x 108 cm

3/16 - Back Frame Mount

^$1080

48 x 48 inches

123 x 123 cm

3/16 - Back Frame Mount

^$1326

Acrylic Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )
We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 20 inches

51 x 51 cm

1/8 with 4 metal stand off

^$208

24 x 24 inches

62 x 62 cm

1/8 with 4 metal stand off

^$271

30 x 30 inches

77 x 77 cm

1/8 with 4 metal stand off

^$388

36 x 36 inches

92 x 92 cm

1/8 with 4 metal stand off

^$530

42 x 42 inches

108 x 108 cm

1/8 with 4 metal stand off

^$875

48 x 48 inches

123 x 123 cm

1/8 with 6 metal stand off

^$1069

3/16" Thickness:

20 x 20 inches

51 x 51 cm

3/16 with 4 metal stand off

^$282

24 x 24 inches

62 x 62 cm

3/16 with 4 metal stand off

^$362

30 x 30 inches

77 x 77 cm

3/16 with 4 metal stand off

^$510

36 x 36 inches

92 x 92 cm

3/16 with 4 metal stand off

^$690

42 x 42 inches

108 x 108 cm

3/16 with 4 metal stand off

^$1080

48 x 48 inches

123 x 123 cm

3/16 with 4 metal stand off

^$1326

Multi Panel Acrylic Print

Brushed Metal Print / Smooth White Metal Print

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Brushed Metal Print

Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
Robust, very light and provides an amazing aluminum lighting effect [+]

30 days satisfaction guaranteed
Free shipping in USA and Canada

Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

Brushed Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

Direct print on metal to provide a white smooth satin finish with controlled light reflection.
Robust, very light and provides a Matte effect [+]

30 days satisfaction guaranteed
Free shipping in USA and Canada

White Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

White Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

Multi Panel Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

A.P.Polo - Recycling HD Metal print with Floating Frame on Back

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A.P.Polo - Recycling HD Sublimation Metal print

A.P.Polo - Recycling HD Sublimation Metal print with Decorating Float Frame (BOX)

Color brilliance, superior durability and archival qualities
This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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Sublimation Hi-Gloss White Metal Print with Back frame

Printed to the edge & Ready to hang a floating frame and hanging wire

Sublimation Hi-Gloss White Metal Print with Decorating Floating Moulding (Black)

Inside a decorating frame (Box) - Black Floating Frame

Multi Panel HD Metal Print

Wood Print

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Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

30 days satisfaction guaranteed
Free shipping in USA and Canada

Wood Print with Back Frame Mount

Printed to the edge & Ready to hang a floating frame

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Multi Panel Wood Print

Roll Print

We ship worldwide

Giclée Roll Canvas Print

Printed on Fine Art Matte Canvas Paper - Provided inside a Strong mailing tube [+]

Premium Acid Free Giclée Poster Paper

Printed on Photo Satin Paper - ( Poster ) Provided inside a Strong mailing tube [+]

Giclée Art Matte Paper Print

Printed on a Premium Archival Matte Paper with a smooth texture & neutral-white - Provided inside a Strong mailing tube [+]

Mural Print

Easy to Install. Washable & Repositionable Self-Adhesive Vinyl [+]

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Our wall murals are produced on printers with Outstanding photographic print quality & durability Extreme image resolution : photographic image quality with the largest color gamut in its class

Easy to Install
Our Wall Mural Print is removable without any damage to your walls. Easy to change or remove. We are using a premium 6 mil auto-adhesive vinyl with a subtile linen-cotton canvas texture.
Change the look and feel of a room without the hassle of traditional wallpaper. Our wall murals print are the perfect solution to easily enhance any residential or commercial space alike!

Repositionable self-adhesive vinyl delivered in strip of 35 to 45 inches of width and slightly overlap for easy installation.
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Framed Print

Get this artwork "A.P.Polo - Recycling" in a framed print.
Fully customizable - at the exact size you want. Select paper type, glass, matte and decorating frame
Start building your custom framed print by selecting one the following moulding:

A.P.Polo - Recycling Picture Frame Printing

Frame model shown: 832-745

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Standard size framed print

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28 x 28"

^$184

28 x 28" Framed Print

Printed Area: 24 x 24"
Total Inside area: 28.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 29.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

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Wall Clock

Product details

This artwork is Made with high-quality acrylic Ready to hang.

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Clock mechanism with a Precise quartz movement. Battery included
Available in Square or Round format
Available in 12" 16" 24" sizes

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Digital Download

File resolution: 7050 x 7050 pixels

ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - RECYCLING
A.P.Polo - "Recycling" - Hamburg (Germany) - New Media Art. Abstract, contemporary work of art that attempts to represent the concept of recycling in a monochrome way and which, despite the digital medium, gives the viewer the impression of plastic. Recycling is the process of converting waste materials into new materials and objects. The recyclability of a material depends on its ability to reacquire the properties it had in its virgin or original state. It is an alternative to "conventional" waste disposal that can save material and help lower greenhouse gas emissions. Recycling can prevent the waste of potentially useful materials and reduce the consumption of fresh raw materials, thereby reducing: energy usage, air pollution (from incineration), and water pollution (from landfilling). Recycling is a key component of modern waste reduction and is the third component of the "Reduce, Reuse, and Recycle" waste hierarchy. Thus, recycling aims at environmental sustainability by substituting raw material inputs into and redirecting waste outputs out of the economic system. Recyclable materials include many kinds of glass, paper, cardboard, metal, plastic, tires, textiles, batteries, and electronics. The composting or other reuse of biodegradable waste—such as food or garden waste—is also a form of recycling. Materials to be recycled are either delivered to a household recycling center or picked up from curbside bins, then sorted, cleaned, and reprocessed into new materials destined for manufacturing new products. In the strictest sense, recycling of a material would produce a fresh supply of the same material—for example, used office paper would be converted into new office paper or used polystyrene foam into new polystyrene. This is accomplished when recycling certain types of materials, such as metal cans, which can become a can again and again, indefinitely, without losing purity in the product. However, this is often difficult or too expensive (compared with producing the same product from raw materials or other sources), so "recycling" of many products or materials involves their reuse in producing different materials (for example, paperboard) instead. Another form of recycling is the salvage of certain materials from complex products, either due to their intrinsic value (such as lead from car batteries, or gold from printed circuit boards), or due to their hazardous nature (e.g., removal and reuse of mercury from thermometers and thermostats). Before industrialization, garbage consisted mainly of human and animal excrement, food waste, broken clay or glass, and probably ashes from fireplaces. Probably the oldest form of recycling is the traditional fertilization of plant and animal waste, especially crop residues, manure and slurry, in agriculture, which is probably as old as this itself. This complete recycling is the basis of subsistence farming. In ancient Rome, excrement was collected and sold to farmers in the surrounding countryside. In the Middle Ages, this organization fell into disrepair for the most part - excrement and waste were sometimes simply dumped on the street and at best "recycled" by pets. Later, scrap and rag collectors were responsible for collecting, sorting and forwarding recyclable material. The "throw-away mentality" of the industrial era did not exist due to the lack of goods such as empty bottles, used wooden or metal objects and the like. It was a matter of course to recycle these objects further. Food waste became pet food, bones and hair became useful things, and rags were turned into paper. Wood and paper waste was burned and metal parts were melted down or forged anyway. With industrialization, the quantity and composition of waste changed, so that the first waste incinerators were built in London, and later the first landfills. During the First World War, the collection of recyclable waste was advertised with great propaganda success. As people became increasingly wealthy after the world wars and were able to afford luxury goods, including more elaborate packaging (bottles, aluminum foil, plastic bags, tin cans, plastic bottles), the industrialized countries faced an acute waste emergency. A normal household, which 150 years ago got along with about 150 things, now used more than 20,000 items, from toothpicks to hairpins, from closets to tacks, and in the Federal Republic in the 1970s, for example, produced an average household waste quantity of 4.7 kg per inhabitant and week, or 244 kg per inhabitant and year. For the most part, this waste was no longer reused, but was largely landfilled. Reuse was only an issue in times of need, especially during and after wars. It was not until the emergence of the green movement in the 1970s and 1980s that a change in thinking took place and the insight spread that waste disposal was one of the main factors in environmental pollution. At the same time, there was an awareness of the overall limitations of natural resources (for example, after the oil shock of the early 1980s), and landfilling became increasingly unfeasible in urban agglomerations such as megacities. The first steps back to a new recycling approach were the initially voluntary waste separation, which became the symbol of an entire generation in the western world. Starting from waste paper reuse, technologies were increasingly developed that made the recycling of all types of waste material economically viable, making waste a significant economic good: The term secondary raw material was coined for this. Recycling is also becoming increasingly important for elements whose occurrence is limited or whose extraction is costly. This is particularly true of rare earths, which are frequently used in the electrical and electronics industry and used to end up in the garbage with discarded equipment. Monochromatic painting has been an important component of avant-garde visual art throughout the 20th century and into the 21st century. Painters have created the exploration of one color, examining values changing across a surface, texture, and nuance, expressing a wide variety of emotions, intentions, and meanings in many different forms. From geometric precision to expressionism, the monochrome has proved to be a durable idiom in Contemporary art. Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel (Negroes fight in a tunnel). (Although Bilhaud was not the first to create an all-black artwork: for example, Robert Fludd published an image of Darkness in his 1617 book on the origin and structure of the cosmos; and Bertall published his black Vue de La Hogue (effet de nuit) in 1843.) In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed other monochrome paintings, such as "Première communion de jeunes filles chlorotiques par un temps de neige" ("First communion of anaemic young girls in the snow", white), or "Récolte de la tomate par des cardinaux apoplectiques au bord de la Mer Rouge" ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red). Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks. However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich. Jean Metzinger, following the Succès de scandale created from the Cubist showing at the 1911 Salon des Indépendants, in an interview with Cyril Berger published in Paris-Journal 29 May 1911, stated: "We cubists have only done our duty by creating a new rhythm for the benefit of humanity. Others will come after us who will do the same. What will they find? That is the tremendous secret of the future. Who knows if someday, a great painter, looking with scorn on the often brutal game of supposed colorists and taking the seven colors back to the primordial white unity that encompasses them all, will not exhibit completely white canvases, with nothing, absolutely nothing on them. (Jean Metzinger, 29 May 1911)" Metzinger's (then) audacious prediction that artists would take abstraction to its logical conclusion by vacating representational subject matter entirely and returning to what Metzinger calls the "primordial white unity", a "completely white canvas" would be realized two years later. The writer of a satirical manifesto entitled Manifeste de l'école amorphiste, published in Les Hommes du Jour (3 May 1913), may have had Metzinger's vision in mind when the author justified amorphism's blank canvases by claiming 'light is enough for us'.With perspective, writes art historian Jeffery S. Weiss, "Vers Amorphisme may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity". In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncu?i. Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities (including impossibility) of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, and writers. Although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. Monochrome painting as it is usually understood today began in Moscow, with Suprematist Composition: White on White of 1918 by Suprematist artist Kazimir Malevich. This was a variation on or sequel to his 1915 work Black Square on a White Field, a very important work in its own right to 20th century geometric abstraction. In 1921, Constructivist artist Alexander Rodchenko exhibited three paintings together, each a monochrome of one of the three primary colours. He intended this work to represent The Death of Painting. While Rodchenko intended his monochrome to be a dismantling of the typical assumptions of painting, Malevich saw his work as a concentration on them, a kind of meditation on art's essence (“pure feeling”). These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or “painting as object”) which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution—a new beginning—in Western painting's history (Malevich). Additionally, many have pointed out that it may be difficult to deduce the artist's intentions from the painting itself, without referring to the artist's comment.

This artwork can be shipped worldwide when ordered on Canvas & Poster Roll
Any other format including, Stretched Canvas, Acrylic etc, ships only in Continental USA & Canada (Free shipping)