Nora See

Lucky Duck

2017

Gina Phillips is a mixed media, narrative artist who grew up in Kentucky and has lived in New Orleans since 1995. The imagery, stories and characters of both regions influence her wo...

"Salute" is a salute to the Black Power Salute used as a political demonstration by African-American athletes John Carlos and Tommie Smith during their med...

Nora See grew up in Allentown, Pennsylvania, where, as a child, she taught herself to draw. She received a Bachelor of Fine Arts in Painting from the Corcoran College of Art and Des...

The piece is a reflection of the current US Executive Branch, depicting the US flag as an old TV test pattern, historically used to indicate that no pro...

Michael Tole is a figurative painter currently living in Tempe, AZ with his wife and daughters. A Texas native, most of his 20 year long career was spent in Dallas. After relocating to Tempe, his work experienced a significant shift from photo-based paintings of retail interiors to fantastical figurative inventions based on pop culture imagery he has encountered via his two daughters’ taste in music videos, and his proximity to Southern California and it’s particular brand of Disney-esque hedonism. Mr. Tole’s career includes shows in New York, Los Angeles, San Francisco, Dallas, and Miami. His work has been reviewed in Art Forum International...

Based on one of the painting galleries at the Met, but with a fictionalized sculpture, the form of which is based on an iconic photo by Will Counts, capturing a white segregationist kicking Alex Wilson, a black journalist, in the head on Sep. 23, 1957. Alex Wilson was in Little Rock, AR, as the 'Little Rock Nine' attempted to enter the segregated public schools. [b. 1977 – New York, NY ::: lives & works – New Haven, CT] CHRIS BARNARD received his BA from Yale and his MFA from The University of Southern California (USC) in Los Angeles. Having previously held faculty positions at Denison University, Indiana University, and USC, Barnard is currently associate professor of art at Connecticut College in New London. Barnard’s work has been shown in solo and group exhibitions in Los Angeles, New York, Chicago, and New Haven, among other locations, and can be found in public and private collections nationally and internationally. His work is represented by Fred Giampietro Gallery in New Haven, where he and his partner live. artist statement In my work I focus on white supremacy’s relationship to the privileged spaces of my experiences, such as private art and educational institutions. Amidst widening gaps in wealth and opportunity, discussions about race, power, justice and representation—across visual culture broadly—seem more relevant than ever. In many of my compositions, which reference real sites, I have inserted fictional elements to raise questions about the allegiances and priorities of these institutions, as well as people—including myself—who have benefitted from, or continue to support them. The resulting works are representational, but through gestural passages and color and surface manipulation, I aim to suggest instability, corrosion and decay. In the end, I strive to make engaging paintings that suggest dissonance and ambivalence, that entice and challenge viewers, just as painting them does for me. These paintings are rooted in my contemplating Whiteness and emerge from wrestling with the politics of painting—the connections and gaps between painting and lived experience. They also reflect: a love of paint, the act of painting, and the power of the painted image; a regard for practitioners past and present, as well as those for whom practice has not been possible; and an admission of painting’s complicity with hegemonic power. As always, my process remains driven by questions. In this case, questions like: What role does painting play in the face of concrete social crises? How can my paintings respectfully incorporate¬—rather than exploit—relevant and thought-provoking content and imagery? What does it mean to think about racism, dehumanization, injustice, etc., and then to paint such pictures, and in particular as a straight, White man? These questions and this body of work owe much to the work of others, and most acutely to four scholars’ books in particular: The History of White People, by Nell Irvin Painter; Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities by Craig Steven Wilder; The New Jim Crow: Mass Incarceration in the Age of Colorblindness, by Michelle Alexander; and White Rage, by Carol Anderson...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by t...

Henk Helmantel probably does not need an introduction to a lot of worldwide art lovers. After all, the artist from Westeremden even has its own museum. ...

Cornelis le Mair (Eindhoven, July 3rd 1944) is a Dutch painter. This Romantic painter is famous because of his 17th century paintings. As a child, Le Mair already developed a talen...

Il Lancio delle Raviole is a beautiful original oil painting on panel, realized by the contemporary Italian artist Claudio Benghi. Title, tecnique, dimensions and signature are hand...

Ballerina is a touching original oil painting on panel realized by the contemporary Italian artist Claudio Benghi. Title, tecnique, dimensions and signature are hand-written with a ...

REDSKIN is one of eight pieces in Nashville based artist Omari Booker's series for his solo show “Red Line” at Channel to Channel. Booker’s new series of work is centered around the...