Nora See

Reimago

2015

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...

Michael Tole says of his work… My conservative, Church of Christ grandmother lived in a pristine little mid-century modern house in the middle-of-no-where, Texas. Its trim, Protestant exterior belied a decadent mishmash of sculpted chocolate carpeting, and gold gilt Rococo furnishings inside. Strewn about the living room walls were frothy little reproductions of pearly, 18th century goddesses frolicking amid forests and streams--mocking the clean modern lines of the room. These prints of Bouchers and Fragonards were so pretty, so decorative, so innocuous in their style that it didn’t occur to me until years later when I studied them in college that they were lesbian love scenes. In these anodyne fetes, young women roiled, breasts and bottoms abounding, gazed into one another's doe eyes, and caressed fulsome cheeks. Though overtly erotic, their style was so decorative and soft that even my religiously conservative grandmother experienced no cognitive dissonance between the racy content and her religious beliefs. I find this tension between style and content, fascinating. The trio of paintings: The Summit of the Gods, Sea Gods, and Modern Marlowe are an exploration of it. I am unaware of any equivalent all male scenes from the Rococo period. This appears to be an inherent bias within the tradition. With this work, I am trying to pry open the tradition and make a space the male figure as decorative--pretty. I say "pretty" instead of "beautiful" because the "beautiful" can be threatening or challenging. "Pretty" is a term we generally apply to unambiguously attractive, comforting, and accepted things: flowers, puppies, babies, etc. I want to know if men can be pretty in the same way those 18th century goddesses are. I think I’ve made a pretty good visual argument for that perception. I'll know I've succeeded if the next generation of grandmas can host their women's bible study group in a living room hung with these paintings. My grandmother likely bought these prints at about the time John Berger coined the truism: “Men act and women appear.” In one sense, this painting is asking if it is possible for men simply to appear, without a narrative justification. The mythological titles of this trio are intentionally vague enough to let the images reside mostly in a non-narrative context, placing emphasis on its aesthetics, not its story. In my current work, The Revisionist Histories, I am writing letters to art history, literature, and mythology in an attempt to reflect the social changes that have reshaped our society over the past century.  As part of this agenda, I explore the evolution of gender norms, power dynamics, and representation within Western visual culture and what this implies for the negotiation between pleasure, justice, and our culturally specific discourse on beauty.    The seed for The Revisionist Histories was sewn when I caught a glimpse of my preteen daughters watching music videos on their iPad as I chopped veggies for dinner.  Out of the corner of my eye I caught glimpses of music videos featuring Beyonce, Taylor Swift, Ariana Grande, Katy Perry, and Doja Cat gyrating across the tiny screen.  A better parent might have snatched the iPad away, but I was overcome with hallucinatory visions of this pop diva...

Michael Tole says of his work… My conservative, Church of Christ grandmother lived in a pristine little mid-century modern house in the middle-of-no-where, Texas. Its trim, Protestant exterior belied a decadent mishmash of sculpted chocolate carpeting, and gold gilt Rococo furnishings inside. Strewn about the living room walls were frothy little reproductions of pearly, 18th century goddesses frolicking amid forests and streams--mocking the clean modern lines of the room. These prints of Bouchers and Fragonards were so pretty, so decorative, so innocuous in their style that it didn’t occur to me until years later when I studied them in college that they were lesbian love scenes. In these anodyne fetes, young women roiled, breasts and bottoms abounding, gazed into one another's doe eyes, and caressed fulsome cheeks. Though overtly erotic, their style was so decorative and soft that even my religiously conservative grandmother experienced no cognitive dissonance between the racy content and her religious beliefs. I find this tension between style and content, fascinating. The trio of paintings: The Summit of the Gods, Sea Gods, and Modern Marlowe are an exploration of it. I am unaware of any equivalent all male scenes from the Rococo period. This appears to be an inherent bias within the tradition. With this work, I am trying to pry open the tradition and make a space the male figure as decorative--pretty. I say "pretty" instead of "beautiful" because the "beautiful" can be threatening or challenging. "Pretty" is a term we generally apply to unambiguously attractive, comforting, and accepted things: flowers, puppies, babies, etc. I want to know if men can be pretty in the same way those 18th century goddesses are. I think I’ve made a pretty good visual argument for that perception. I'll know I've succeeded if the next generation of grandmas can host their women's bible study group in a living room hung with these paintings. My grandmother likely bought these prints at about the time John Berger coined the truism: “Men act and women appear.” In one sense, this painting is asking if it is possible for men simply to appear, without a narrative justification. The mythological titles of this trio are intentionally vague enough to let the images reside mostly in a non-narrative context, placing emphasis on its aesthetics, not its story. In my current work, The Revisionist Histories, I am writing letters to art history, literature, and mythology in an attempt to reflect the social changes that have reshaped our society over the past century.  As part of this agenda, I explore the evolution of gender norms, power dynamics, and representation within Western visual culture and what this implies for the negotiation between pleasure, justice, and our culturally specific discourse on beauty.    The seed for The Revisionist Histories was sewn when I caught a glimpse of my preteen daughters watching music videos on their iPad as I chopped veggies for dinner.  Out of the corner of my eye I caught glimpses of music videos featuring Beyonce, Taylor Swift, Ariana Grande, Katy Perry, and Doja Cat gyrating across the tiny screen.  A better parent might have snatched the iPad away, but I was overcome with hallucinatory visions of this pop diva...

"Seeking Funn SEXY friends - mw4mw - 30 (NO ky SO oh)" by Carlton Scott Sturgill. Born in 1971 in Cincinnati, Ohio, CARLTON SCOTT STURGILL received his Masters of Arts (Fine Art) fr...

ALEXANDER STOLIN, born and raised in Kiev, Ukraine (under the former Soviet Socialist Republic), where he received intensive training and a master of fine arts degree in his homeland...

ALEXANDER STOLIN, born and raised in Kiev, Ukraine (under the former Soviet Socialist Republic), where he received intensive training and a master of fine arts degree in his homeland...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

Work : Original Oil Painting, Handmade Artwork, Unique Work. Ready to Hang. Medium : Oil on coated wood. Artist : Raphaël Renaud Subject : Coin de FV (Title), (EN : Corner of FV). T...

Work : Original Oil Painting, Handmade Artwork, Unique Work, ready to hang. Medium : Oil on coated Wood panel. Artist : Gabriel Riesnert Subject : à sa fenêtre (Series, Title), (EN ...

A tall, stately deciduous tree in full foliage stands alone in a field of green set against a pale blue sky—wisps of white clouds on the horizon in this oil painting by Peter Hoffer....

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing and conveying its contents, with particular involvement of methodologies from geography, anthropology, sociology to cultural studies. Her works have been in the past approached to the works of Anselm Kiefer (b. 1945) and Giovanni Battista Piranesi (1720-1770), but in Gullotta's paintings the absence of color makes the spaces particularly ethereal, allowing them to be ideally lifted to new places and to new life. An artist of international caliber who has decided to entrust her return to her homeland to Almach Art Gallery in Milan, while maintaining connections with important galleries, such as Marlborough Fine Art in London and Galerie Koch in Hanover. The artwork represents the famous Velasca Tower in Milan. This artwork was exhibited during the Daniela Gullotta...