Frank Hyder

Fish Light #34

2014

Tempest in Blue-Archival print on Plexiglass 48 X 36. Frank Hyder has participated in more than 150 group shows and has had over 80 solo exhibitions throughout North, South and Central America, including 10 individual exhibitions in New York City. He has been one of the few North Americans to have solo museum exhibitions in Venezuela at the Museo de Arte Contemporaneo de Caracas Sofia Imber (MACCSI), and Museo Universidad de Los Andes . Other solo museum exhibitions include the Pennsylvania Academy of Fine Art’s Museum of American Art, the Carnegie Museum in California, the La Salle Museum of Art in Philadelphia, and the National Museum of Catholic Art and History in New York. His work has been collected by Museum Jacobo Borges...

48 X 36 Mixed media Frank Hyder has participated in more than 150 group shows and has had over 80 solo exhibitions throughout North, South and Central America, including 10 individu...

Wallflower 48 X 36 Painters who have tackled the genre of Still Life are awe inspiring to me. To name a few, Matisse, Cezanne and my favorite, Georgio Morandi, all of whom painted memorable still lifes. The content of a Nature Morte (French translation) usually consists of domestic, ubiquitous items that occupy a place in the home environment. My interest in this genre of painting began long ago and I have pursued it concomitantly with my larger abstract works. As an abstract painter, I find many corollaries between Abstraction and Realism. That’s not to say that my still life paintings are realistic or abstract but to be more accurate, artistic license allows me to invent my own brand of semi realism incorporated into ‘’The Stll Life’’. My goal in this body of work was to create a dynamic based on the juxtaposition of patterns and a bold, complementary palette-- resulting in a synergy of texture, animation and optical effects. As the work progressed, an organic evolution of ideas took over and the work became more reductive and less confrontational. Just a word about my titles. Some are ‘’tongue in cheek’’ and some are a sardonic take on the imagery but I spend a lot of time making sure the titles fit the idea behind the painting. Of course, viewer interpretation is always welcome. Patricia Zinsmeister Parker

Sins of Omission 48 X 36 Painters who have tackled the genre of Still Life are awe inspiring to me. To name a few, Matisse, Cezanne and my favorite, Georgio Morandi, all of whom painted memorable still lifes. The content of a Nature Morte (French translation) usually consists of domestic, ubiquitous items that occupy a place in the home environment. My interest in this genre of painting began long ago and I have pursued it concomitantly with my larger abstract works. As an abstract painter, I find many corollaries between Abstraction and Realism. That’s not to say that my still life paintings are realistic or abstract but to be more accurate, artistic license allows me to invent my own brand of semi realism incorporated into ‘’The Stll Life’’. My goal in this body of work was to create a dynamic based on the juxtaposition of patterns and a bold, complementary palette-- resulting in a synergy of texture, animation and optical effects. As the work progressed, an organic evolution of ideas took over and the work became more reductive and less confrontational. Just a word about my titles. Some are ‘’tongue in cheek’’ and some are a sardonic take on the imagery but I spend a lot of time making sure the titles fit the idea behind the painting. Of course, viewer interpretation is always welcome. Patricia Zinsmeister Parker...

Painters who have tackled the genre of Still Life are awe inspiring to me. To name a few, Matisse, Cezanne and my favorite, Georgio Morandi, all of whom painted memorable still lifes...

The Velvet Touch 36 X 36 Painters who have tackled the genre of Still Life are awe inspiring to me. To name a few, Matisse, Cezanne and my favorite, Georgio Morandi, all of whom pai...

This is a hand made piece - No Props, it has a LED light and switch. (it can hang on the wall or sit as sculpture) Ryan Thomas Monahan hails from Yorkville, Illinois. Utilizing a ...

"ALEXANDER McQUEEN L5" Original photography Edition of 8 by Giuliano Bekor This artwork printed on a highest resolution fine art Fujiflex Crystal ...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

June 2020, Unique Edition Mix Media paper wax and plexyglass with protective Cap Plexiglas with LED 15 7/10 × 15 7/10 × 7 9/10 in - 40 × 40 × 20 cm The artwork is dated, numbered and...

June 2020, Unique Edition Mix Media paper wax and plexyglass with protective Cap Plexiglas with LED 15 7/10 × 15 7/10 × 7 9/10 in - 40 × 40 × 20 cm The artwork is dated, numbered and...