Robert Crooker

Digital Domain

2021

Artist Commentary: As the title suggests, much of what I create is what I consider to be improvisational. I have spent many years exploring improvisation through various mediums including stand-up puppetry and jazz guitar...

Artist Commentary: I consider my work to be abstract but I often journey into making a painting that directly draws inspiration from landscape Words that describe this piece: natur...

Artist Commentary: The colors really pop in this painting. It is like the after images from looking into a bright light. Keywords: colorful, bold Artist Biography: Scott has worke...

Artist Commentary: Brilliant oranges, violets and greens make a bold, dynamic statement that will add flair to any room or office. Colors shoot diagonally upward, suggesting movement and the setting of lofty goals. A bold splash of color for any room. Believe it or not, this piece was inspired by a Mardi Gras parade in New Orleans! Words that describe this piece: green, orange, red, abstract, bold, colorful, dynamic Details about the piece: This is a hand-painted, original acrylic painting. Professional grade acrylic paints on canvas. Wired and ready to hang. Signed on the back. Comes with a certificate of authenticity. Artist Biography: Evan Stuart Marshall is an award-winning contemporary abstract painter based in Roseland, New Jersey. Born in Boston and raised in Sharon, Massachusetts, he lives and works in Roseland, New Jersey. Largely self-taught, Evan has received numerous awards for his work, including the Mary Koether Merit Award from the West Essex (New Jersey) Art Association. His work has been featured in many juried exhibitions, both solo and group, and is held in many private collections around the world. His artwork is carried by major online retailers including Homesquare, Houzz, Kmart, Pier 1, Walmart and Wayfair. One of Evan’s paintings was recently selected by the renowned curator and art consultant Paige Powell...

acrylic on canvas b. 1975, Bellaire, OH Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. G...

This artwork "Untitled" 1987 is an original offset lithograph, with gold and silver leaf addition on wove paper by Canadian artist Terry Leftrook, born 1948. It is hand signed, date...

acrylic on canvas b. 1975, Bellaire, OH Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. G...

Roland Ayers (1932-2017). Untitled, 1983. Ink on paper, measures 17 x 23 inches. Unframed and unmounted. Signed and dated lower left. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...