Jacob Collins

Library Afternoon

2009

Image dimensions: 10 x 8 inches Framed dimensions: 14 x 12 inches Oil painting on canvas mounted on panel and framed. A leading figure in the contemporary revival of classical paint...

Image dimensions: 6 x 9 inches Framed dimensions: 12 x 15 inches Oil on canvas mounted on panel and framed. A leading figure in the contemporary revival of classical painting, Jacob...

Image dimensions: 12 x 9 inches Framed dimensions: 16 x 13 inches Oil on panel landscape by Jacob Collins. A leading figure in the contemporary revival of classical painting, Jacob...

Edition 89/150 This is a framed etching, signed Jamie Wyeth at the lower right corner, and 89/150 at the lower left corner. Jamie Wyeth (b. 1946) is a third-generation artist, disti...

Jennifer unveils her bare breast, luring her unsuspecting rapist towards her so that she may seek her revenge. Should her morals be questioned? It makes no difference to her animal companion. This dog’s family was murdered and his response is to bite on a pair of dentures. Morality is exclusive to humanity. Nature simply carries forward. Featuring the films "I Spit on Your Grave", 1978, "High Tension", 2003 and "Angst", 1983. Georgia Hinaris I Spit on Your Angst oil on panel 28h x 56w in 71.12h x 142.24w cm GHS012 Horror films are the most profound and visceral of films, garnering the most extreme responses: vehement hatred and cultish admiration. Horror elicits a controlled neurosis while exposing the rejected weaknesses and brutalities of humanity. I embrace the power of cinema and its ability to alter perception, as it is media that is a reflection of our primordial desires. I’m fascinated by concepts involving the limits of human perception, the ambiguity of morality in relation to nature, the paradoxical nature of reality, and the human struggle to reckon with uncertainty. Humans bear the burden of being as we are, all caught in a flux of unbelievable cognitive abilities and animalistic instincts. Every painting is in its own universe and I cater to it. Nothing is precious. Chaos is embraced. Georgia Hinaris, b. 1993, Chicago, Illinois Education 2019 MFA Painting, New York Academy of Art, New York, NY 2015 BFA Painting, Pratt Institute, Brooklyn, NY Exhibitions 2020 Summer Exhibition, Flowers Gallery, New York, NY Summer Juried Exhibition, Prince Street Gallery, New York, NY 2019 Di Donna Gallery, New York, NY AXA Art Prize, San Francisco Art Institute, San Francisco, CA, Richard Gray...

Inspired by a still from the 1977 horror film, "Rabid". This is the division of morality. A portrait of an individual cast mostly in shadow. The only portion of his face hit with light has no eye, leaving him to only see through his darkness. The bold heavy brushstrokes of this painting give an abstract quality where the shadows and light are transformed it into a dynamic and vibrantly alive scene. Georgia Hinaris Rabid oil on panel 18h x 18w in 45.72h x 45.72w cm GHS010 Horror films are the most profound and visceral of films, garnering the most extreme responses: vehement hatred and cultish admiration. Horror elicits a controlled neurosis while exposing the rejected weaknesses and brutalities of humanity. I embrace the power of cinema and its ability to alter perception, as it is media that is a reflection of our primordial desires. I’m fascinated by concepts involving the limits of human perception, the ambiguity of morality in relation to nature, the paradoxical nature of reality, and the human struggle to reckon with uncertainty. Humans bear the burden of being as we are, all caught in a flux of unbelievable cognitive abilities and animalistic instincts. Every painting is in its own universe and I cater to it. Nothing is precious. Chaos is embraced. Georgia Hinaris, b. 1993, Chicago, Illinois Education 2019 MFA Painting, New York Academy of Art, New York, NY 2015 BFA Painting, Pratt Institute, Brooklyn, NY Exhibitions 2020 Summer Exhibition, Flowers Gallery, New York, NY Summer Juried Exhibition, Prince Street Gallery, New York, NY 2019 Di Donna Gallery, New York, NY AXA Art Prize, San Francisco Art Institute, San Francisco, CA, Richard Gray...

In his painting entitled "Interior with iMac and Venetian Chandelier", Andrew Conklin uses a loose paint brush to capture the scene. The interior scene shows a woman seated at a cloth covered table working on an early version iMac computer. Above her is an elaborate Venetian glass chandelier giving the interior an elegant feel. A vintage framed poster...

In this series of trompe-l'œil oil and acrylic paintings, Myron Stephens realistically recreates images of mundane objects taped to what appears to be chalkboards covered with free s...