Edward Zelinsky

nude, Drawing, Pencil/Colored Pencil on Paper

2018

Meticulously detailed drawing on archival paper. This is a color and image study for a larger piece that sold, entitled "Under the Shadow of Mortality". This title is the closest des...

Each line is the trace of a movement. The work is constructed by accumulation, color on color and line upon line. The strokes are like a bridge between two shores, a web that links fragments. Intensity is an essential component of my work and forms part of a vital dynamic. The experiential operates as a time shift: a difference that is installed on the continuum of reality; a gap that lets you see what is hidden from the view. The pencil tip releases material into the interstices of the paper, covering the paper grain; and if it does not, another stroke will cover this supporting skin. NOTE: This artwork is shipped in a tube. The back of the paper may contain a few small traces of colour from the wooden board where it was made (see photo above). Colors are a few saturated in the main photo. Please click on the closeup photo to see the right color. The paper is Fabriano Watercolour Studio, 140 lb , Cold Pressed. Artistis' colour pencils Polychromos Faber Castell...

Sibyl Study is an original Contemporary artwork realized in 1970 by the italian artist Leo Guida. Original drawing on paper. The sheet is glued on cardboard (total dimensions: cm 50...

Rick Sindt's knowledge of the male physique is evident in this exquisite drawing of a nude male. The subject sits on the ground with his body twisted away from the viewer. We see the defined musculature of his posterior. The artwork is framed in white wood with a black mat. Rick Sindt The Body is a History graphite on archival paper 12h x 9w in 30.48h x 22.86w cm RIS026 Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...