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Nora See
Reality Show
2019

Name: Reality Show
Brand: Nora See
Price: 11825.63 AUD
Availability: InStock
Rating: 5 (36 reviews)

$7,500

£5,685.20

€6,638.04

CA$10,505.36

A$11,825.63

CHF 6,256.20

MX$146,682.42

NOK 77,302.06

SEK 73,932.58

DKK 49,523.04

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About the Item

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 program was being broadcast. This image of antiquated tech also corresponds with the archaic attitudes of the Executive. The white stars represent blue states in the 2016 election and are loosely placed geographically. The black stars are the red states, placed more chaotically and on the "floor" of the gray field to reflect the clusterfuck of their vote. The colors gold and "Cheeto" orange are iconographic emblems of the head of the current Executive. Like him, the gold is fake and, as such, has tarnished and turned green in spots. NORA SEE grew up in Allentown, Pennsylvania, where, as a child, she taught herself to draw. She received a Bachelor of Fine Arts in Painting from the Corcoran College of Art and Design and a Master of Fine Arts from the University of New Orleans. She works and lives in New Orleans. In her oil paintings, Nora See renders framed paintings on walls with which human figures interact. Through her classical painting style and the use of historical visual references, her pieces contrast the past with the present. By combining these temporal elements with the use of frames as containers, she explores themes of consumption, imprisonment, and liberation. Nora’s work has been exhibited in a variety of venues and is also in the personal collection of Blake Lively and Ryan Reynolds. STATEMENT “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.

Creator:

Nora See (American)

Creation Year:

2019

Dimensions:

Height: 24 in (60.96 cm)Width: 36 in (91.44 cm)

Medium:

Oil,Acrylic,Wood Panel

Movement & Style:

Contemporary

Period:

21st Century

Condition:

Gallery Location:

New Orleans, LA

Materials

Varnish, Acrylic, Wood Panel

Adam Mysock
A Bid to Gain Attention, 2018

$4,100

2010s Contemporary Figurative Paintings

Materials

Oil, Acrylic, Wood Panel

Robert Marchessault
Arbre Al Mar, 2021

Price Upon Request

Kaian

By Robert Marchessault

Located in Montreal, Quebec

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

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