Railing Paintings

750, 2005 Acrylic on canvas 63h x 9.84w in Using photography as the starting point, Viviana Zargón constructs a pictorial universe of industrial imagination. In an exploration of ab...

Painted this in the studio, based on a photo I took of some Victorians just a block away from Haight Street in San Francisco. This is part of a new series of paintings where I spray ...

Caroline de Piedoue is a French artist born in 1954 who lives & works in Berchères-sur-Vesgre, Eure-et-Loire, France. Her theme of her paintings is largely urban but also beach scene...

Oil on canvas

Acrylic on canvas

Acrylic on canvas

Acrylic on canvas

Signed on bottom right

“Run to Me” portrays a solitary figure leaning against a railing against a vibrant blue background. Dressed in dark clothing with indistinct facial features, the figure appears lost ...

American, b. 1962 Contemporary artist Lori Zummo paints in a style evocative of the American Barbizon School. She received her BFA from Syrac...

An abstracted view of the Art Institute of Chicago's Grand Staircase. The lone sculpture fictionally represents an armed officer pointing a gun at an absent figure. [b. 1977 – New York, NY ::: lives & works – New Haven, CT] CHRIS BARNARD received his BA from Yale and his MFA from The University of Southern California (USC) in Los Angeles. Having previously held faculty positions at Denison University, Indiana University, and USC, Barnard is currently associate professor of art at Connecticut College in New London. Barnard’s work has been shown in solo and group exhibitions in Los Angeles, New York, Chicago, and New Haven, among other locations, and can be found in public and private collections nationally and internationally. His work is represented by Fred Giampietro Gallery in New Haven, where he and his partner live. artist statement In my work I focus on white supremacy’s relationship to the privileged spaces of my experiences, such as private art and educational institutions. Amidst widening gaps in wealth and opportunity, discussions about race, power, justice and representation—across visual culture broadly—seem more relevant than ever. In many of my compositions, which reference real sites, I have inserted fictional elements to raise questions about the allegiances and priorities of these institutions, as well as people—including myself—who have benefitted from, or continue to support them. The resulting works are representational, but through gestural passages and color and surface manipulation, I aim to suggest instability, corrosion and decay. In the end, I strive to make engaging paintings that suggest dissonance and ambivalence, that entice and challenge viewers, just as painting them does for me. These paintings are rooted in my contemplating Whiteness and emerge from wrestling with the politics of painting—the connections and gaps between painting and lived experience. They also reflect: a love of paint, the act of painting, and the power of the painted image; a regard for practitioners past and present, as well as those for whom practice has not been possible; and an admission of painting’s complicity with hegemonic power. As always, my process remains driven by questions. In this case, questions like: What role does painting play in the face of concrete social crises? How can my paintings respectfully incorporate¬—rather than exploit—relevant and thought-provoking content and imagery? What does it mean to think about racism, dehumanization, injustice, etc., and then to paint such pictures, and in particular as a straight, White man? These questions and this body of work owe much to the work of others, and most acutely to four scholars’ books in particular: The History of White People, by Nell Irvin Painter; Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities by Craig Steven Wilder; The New Jim Crow: Mass Incarceration in the Age of Colorblindness, by Michelle Alexander; and White Rage, by Carol Anderson...

Acrylic painting by Anne Finkelstein. Anne Finkelstein’s work is primarily digital photographic montage or painting of the city landscape. Combining disparate view-points she create...

Between 2001 and 2004, the artist produced a series of oil paintings on panel using as a motif the roof of the Casa Milà, better known as La Pedrera, in Barcelona, one of the most em...

The fourth of the artwork in the series dedicated to Gaudí's Casa La Pedrera presents an angular perspective of the iconic rooftops that crown this Modernist Art Nouveau monument fro...

​Lawrence McAdams remembers waking up literally and figurative in the fall of 1999, with a clear calling to become an artist. He writes, “The Images in my paintings are usually metap...

Kevin Frank statement: For me, combining the techniques of the ancient Greco-Roman painters with those of the old and new masters help to create unique modern images. As with all enc...

Represented by George Billis Gallery, NYC & LA -- Alex Roulette’s paintings depict false realities. The artist constructs landscapes from numerous source photographs, which he uses a...

The painter and sculptor Martín Carral studied Fine Arts at the University of Barcelona. Carral has been painting gravitational waves for many years, an expanding universe of abyssal...

The painter and sculptor Martín Carral studied Fine Arts at the University of Barcelona. Carral has been painting gravitational waves for many years, an expanding universe of abyssal...

"Stairways to the Stable Mind" is Pop Artist Mark Kostabi's homage to the great MC Escher's "Relativity". Signed and dated lower left and verso.

In his "Immortality" series, Plusch explores how notions of beauty and deformity, eternal and momentary, and life and death intermingle and blur together. This work expresses how all...

In his "Immortality" series, Plusch explores how notions of beauty and deformity, eternal and momentary, and life and death intermingle and blur together. This work expresses how all...