Gary Kaleda

Refraction, digital painting of nude female figure, abstracted

2007

Acrylic on linen. Featured in SOFA Chicago 2019. Eisner has been active as both a painter and a sculptor since the 1960s. After receiving a BFA in painting from Syracuse University...

Since moving to Ubud (Bali, Indonesia) in August 2018 Lydia has been investigating the psychological phenomenon known as the Spotlight Effect. The idea of constantly being watched; u...

Since moving to Ubud (Bali, Indonesia) in August 2018 Lydia has been investigating the psychological phenomenon known as the Spotlight Effect. The idea of constantly being watched; u...

Since moving to Ubud (Bali, Indonesia) in August 2018 Lydia has been investigating the psychological phenomenon known as the Spotlight Effect. The idea of constantly being watched; u...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Artist's Statement: "I typically paint abstractly, but this is part of a recent series of paintings that is figurative and symbolic. They harken back to 80s neo-Expressionism - my favorite contemporary art movement. I tend not to beat collectors over the head with fatuous "meanings" of my work, but this one does have a subtext, a rather personal one. But you are welcome to read whatever you want into it." Comes framed in a professional high-profile float frame. “Lyman’s work evolves restlessly, with the common elements generally being deft and unusual color choices that balance assonance and dissonance, and vestiges of the hand and facture purposely left in the paintings. The negative space is often so meticulously worked that it’s almost as if the objects – usually simple shapes – are there as much to complement the background as vice versa. Despite the often bold colors there is an elegance about his paintings that prevents them from being either loud or decorative. " Artbeit Zeitschrift “His paintings are a refreshing departure from the current abstract art world’s seemingly endless parade of fields of color with scribbles providing form, a style that is easily mimicked and has become a sort of “safe,” accessible go-to. There are confident decisions in these paintings appearing as commitments of strongly delineated forms and unexpected collisions of color that give the work a visceral, confident and playful soul, increasingly missing from contemporary expressionist abstraction. They are the paintings of a real painter rather than a decorative artist.” ArtSeen, 2018 (from a collector): "Love your work. We collect colorists like Wolf Kahn and Jennifer Bartlett, whom I commissioned a piece from that is in the entrance of Mayo Clinic. We are old fans...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Pictographic scene by Charles Stewart (American, 1922-2011). There are several figures in the center of the piece, one of which has raised hands, as if to praise the sun above them. Surrounding the figures are symbols reminiscent of Neolithic art - spirals, handprints, and animal symbols. Signed "C. Stewart , T. S (for Taos Society of Artists)." in the lower left corner. Presented in a wood frame with vinyl faux-lizard skin wrapping, and a linen mat. Image size: 16.5"H x 21"W Charles C. Stewart (1922-2011) was born in Toledo, Ohio. From an early age he had a natural talent for the arts, so much so that during his school years, his teachers encouraged him to take classes at the Toledo Museum. He studied there for eight years. During World War II, he served with the tank destroyers in five campaigns. When he returned from the war, he studied art and sculpture at the Art Student's League in New York. He then went to Mexico for eight months to study and paint. While in Mexico, he fell in love with the country, its people and arts, vowing one day to return and live. In 1947, Stewart moved to Taos, New Mexico to start his career. He opened a frame shop and small studio and studied at the Taos Valley Art School under Louis Ribak. In 1949, he opened his own gallery. He taught art and sculpture at the Taos Art Association and at Philbrook Art Center in Tulsa, Oklahoma, as well as teaching private students. He built three homes in Taos, the last of which is known as the "Stewart House." The "Stewart House" was written up in the New Mexico Magazine in an article entitled "The House That Chuck Built" by Tricia Hurst In late 1984, Stewart and his wife, Mary Lou, were exploring the Baja in Mexico and ended up at "Land's End," a small fishing village on the Sea of Cortez called Cabo San Lucas...