Ian Davis

Doledrum ( Industrial Environmental Pollution

2006

Historically , newsstand magazines have used a standard set of practices when it came to choosing their cover image. Their goal was to use an image that people could instantly relate to. The idea being, if an image pops off the page it will attract more attention and then generate more newsstand sales. For editors, choosing a cover was first a marketing decision and then an aesthetic one. That is why most magazine covers and (that includes art magazines) pretty much looked the same. They used familiar images, mostly of celebrities, beauty people or news items of that would beckon and aggressively reach out to the prospect. In this Modern Photography Cover of August 1983, they chose a radical departure. They used an image that was the opposite of the norm. Mitchell Funk’s Graphic Surreal Landscape breaks the rules of formula magazine cover art...

Rarely do you come across a work of art that is vastly different than just about anything you see. This work is undeniably brilliant and a sheer pleasure to behold. Alexander Leydenfrost...

Mitchell Funk was a pioneer of Sci-fi photography. This work was does for a promotional campaign for Omni Magazine. Signed and dated on lower righ...

Pioneering SciFi photographer Mitchell Funk experiments with altered realms of reality by juxtaposing two landscapes of unnatural color to form a never-before-seen original vision. A single silhouetted figure looks out on a day-glow yellow sea leading to a dreamscape of trees. The yellow of water is picked up in the trees to unify the different perspectives. Published Popular Photography Magazine, February 1976...

"The Factory Builds Eternally East" depicts a open skies and city lights. This scene is of no particular place, but rather Carpenter's interpretation and compilation of various places he has visited. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul...

An original woodblock print dated 1965, titled "Our Town" but signed illegibly.

Terraform #1, Oil on Canvas Painting by Dennis Ekstedt, 2021 Additional information: Medium: Oil on canvas Dimension: 35 × 70 in (88.9 × 177.8 cm) About artist: Dennis Ekstedt (Can...

Franck Bailleul is a French painter born in 1964 who lives & works in Abbeville, Normandy, France. He has exhibited nationally as well as in the Unite...