Wilson McLean

Movie Poster Illustration for "American Pop"

1981

Dink Siegel (American, 1910-2003) That's a Wrap, Playboy cartoon, August 1973 Mixed media on board 11.25 x 8.5 in. Signed lower right

Brains in a basket? Unwrapped turkeys piled up in a shopping cart are symbolic of a family exposed brains. This symbolic Pop Art Illustration brilliantly depicts Sigmund Freud holding a baby with a family in the parking lot of a shopping center...

Put aside Richard Taylor's dry wit. Look at his masterfully rendered figures and brilliantly constructed compositions based on a two-point perspective. Clearly, he is an underrated and overlooked talent in the class of Charles Addams. Above all, Taylor, with his heavely-lidded-eyed figure, has a style of his own. An artist who has an instantly recognized style - unique to him/her is a rarity in today's artworld of derivative artists. "For Posing, My Terms Are a Dollar an Hour, Room, and Board", Playboy cartoon illustration...

An illustrator for Time, Life, Look, True, True West, Saturday Evening Post, Good Housekeeping, Readers Digest, and others, he also painted for adverti...

Medium: Acrylic on Board Signature: Signed Lower Right Cover of 'Time and Again' by Jack Finney Time and Again is told in the first person by Simon Morley, a 28-year-old artist wor...

Date: 1983 Medium: Oil on Board Dimensions: 28.50" x 19.00" Signature: Signed "Lettick" Lower Right Original poster design for Showtime Cable Network, 1983

Represented by George Billis Gallery, NYC & LA --When asked what kind of paintings I make, I usually call my work "Urban Landscapes" to distinguish them as paintings about areas of human habitation rather than landscapes that reference the natural world. But my subjects are certainly not all urban – some are suburban, some small towns and some are ruins, such as a faded sign and abandoned business bleaching in the desert sun as once populated areas return to their former empty silence. While I often treat older architectural forms, I want to make it clear these are not paintings about nostalgia – all are contemporary scenes, recently observed. Currently I've painted a number of pictures which seem neither urban nor rural but are set in that particular non-space that now covers so much of the landscape – the limbo of freeway exits and on-ramps and their attendant fast-food franchises. What I feel these mostly unpopulated places I choose to paint have in common is a potency, some kind of emotional charge that enables them to function as settings for a subjective fictional narrative. As the artist I choose and edit the scenes, setting the stage for viewers to bring their imaginations and private meanings to these places made special by my selection and attention." Notes: Urban, Rural, Movies, Theatre...

Michael Knigin, American (1942 - 2011) - Focus on Fiction, Year: 2000, Medium: Chromogenic Print on canvas, signed, dated and numbered in pen lower left, titled on verso, Edition: 2/...