Carlton Scott Sturgill

Seeking Funn SEXY friends - mw4mw - 30 (NO ky SO oh)

2013

“Good artists borrow. Great artists steal.” A quote oft attributed to various sources that was never actually uttered by any of them. Though Mark Twain elaborated on the sentiment: “Ninety-nine parts of all things that proceed from the intellect are plagiarisms.” In the Framed Series, I use my 1% contribution to combine issues of consumption with my autobiography. I paint copies of copies of paintings within paintings to reference the appropriation, commodification, and altered continuum of art. My paintings of paintings are based on photographs of originals to perpetuate the continual distillation of form, given the ease with which images are presently exchanged and modified. Further, by reducing historically significant paintings to framed objects hanging on walls, I augment art as a commodity and reconcile the conflict between the artificially assigned monetary value of artworks with the reality that they are simply swirls of paint. In this way, I am also acknowledging the literality of my own work. I have also altered each copied painting to personalize the context of the pieces and address specific autobiographical ideas. These ideas relate to a range of both recent and distant experiences, both funny and sad. Although my initial renderings are digital image composites, my medium of choice is oil paint, applied in transparent layers, using the image on the computer screen as a reference. In addition to its lush visual properties, I enjoy the flexibility of oil paint in making acute renderings as well as the evolution of the imagery from paint to digital and back to paint in further protracting both the distillation and evolution of form. statement on piece "The character Jame Gumb, from the 1991 film and 1988 book, The Silence of the Lambs...

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...

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...

This depicts an Art Institute of Chicago gallery space with a fictional sculpture. The two men rendered in the sculpture are based on white youth who attacked and beat Ted Landsmark, a black lawyer...

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...

Oil and acrylic on panel Signed, titled, and dated, verso This artwork is offered by ClampArt, located in New York City. Since childhood Scott Daniel Ellison has had a fascination ...

Oil and acrylic on panel Signed, titled, and dated, verso This artwork is offered by ClampArt, located in New York City. Since childhood Scott Daniel Ellison has had a fascination ...

Preparation for Carnival: a three day festival of insatiable eating, drinking and carousing that preceded the forty days of Lent, a period of penitence when the pious drank only wate...

A fine figural oil painting of a mother and three children with worried looks on their faces as military planes fly overhead by American artist Hope Shipee Bunin (1908-1970). Bunin w...

Lisa Fricker's "Seen" is an original, handmade oil painting that depicts a portrait of a close-up of a person's eye.

Original painting. Acrylic, oil and paper on high quality linen canvas stretcher. Finished off with a soft glossy varnish. 70 x 90 cm 27.5 x 35.4". The corners are painted and it’...