Allison Gildersleeve

Magazines and Books

2014

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

Allison Gildersleeve, born in Connecticut in 1970, earned her B.A. from the College of William and Mary and her M.F.A. from Bard College. Gildersleeve lives and works in Brooklyn, Ne...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

Red (Abstracted Red Flowers in Dark Green Vase) by David Konigsberg 2021, oil on panel, 19 x 23 inches Konigsberg is a conceptual realist who works across media and painting genres ...

Fresh Cut (Abstracted Pink/Purple Flowers in Vase against Window) by David Konigsberg 2023, oil on panel, 19 x 23 inches Konigsberg is a conceptual realist who works across media an...

Hunt Slonem 'Tulip 7' 2024. Oil on wood, 10 x 8 in. / Frame: 14.5 x 12.5 in. Signed on back. This painting features a single tulip painted in red with a green stem and leaves over a ...

A study for a series of larger paintings based on motion capture studios, this painting combines classic technique with modern sensibility. Here the seated model leans against an antiquated iMac. Upon closer examination, the preparatory sketch lines are visible on the model's feet and her forearm. Unfinished works were first seen during the Renaissance with Masters such as Leonardo da Vinci, Michelangelo and Donatello. It became fashionable to leave works incomplete, so much so, that it became an aesthetic term 'non-finito'. Andrew S. Conklin Kelsey Seated, Arm with iMac oil on panel 12h x 17w in 30.48h x 43.18w cm ACK011 Motion Capture Paintings, Chicago My recent painting series describes the reality of motion capture environments by showing the interplay between female athletes and male technicians. These paintings are meant to explore conventions of female representation in Western figurative art and to contrast this past practice with the contemporary imagery of that subject via computer-based image technology. This project was instigated by a number of things: first, by my abiding interest in depicting the human form in paint, as I find its versatility in a design, its invitation to empathy, and its difficulty, to be something worth attempting to depict with success. In addition, my curiosity regarding the new ways to depict the form using electronic technology seem to challenge to the traditional methods I rely upon, and I wanted to comment on the similarities and differences between the studios of the painters and the technicians. In this way, I aim to continue my investigation into what I see as the contrasting quality of human nature, and symbolically represent opposites such as mind and body, analog and digital, realism and idealism, terrestrial and the transcendent. Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...