Isabelle Carbonell

Isabelle Carbonell "Kansas" Iconic Wizard of Oz Set of Four

2006

"The Yellow Brick Road" is 1 of a set of 4 digital prints whose titles were inspired by the iconic film The Wizard of Oz starring Judy Garland. The other three are titled: The Land o...

"Somewhere Over the Rainbow" is one of a set of four digital prints whose titles were inspired by the iconic film The Wizard of Oz starring ...

SALE ONE WEEK ONLY Jennifer's "Untitled" piece appears to be a landscape with a colorful stripped form arising out of the grasses. It is an iconic image that she incorporates into her work. The following excerpt from her Artist Statement best describes her feeling about it: I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Jennifer Wynne Reeves was known for creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas. Beyond her achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose. Reeves solo exhibitions included Art & Public in Geneva, Gian Enzo Sperone in Rome; Max Protetch, Ramis Barquet and BravinLee programs, NYC. Reeves was also celebrated for her writing. She produced a graphic novel, The Anyway Ember and Soul Bolt, a book of images and prose. “Profoundly rewarding works” said LA Times writer, David Pagel, in a review her 2015 exhibition at CB1 Gallery. Reeves is a John Simon Guggenheim Fellow recipient. The following is an artist’s statement about her theory off work: “Twenty years ago, I called them slugs. In the beginning, they were like long lumps without arms or legs. Powerless. Difficult. Paralyzed. I thought maybe they were the symbols of sloth or depression or fear. They didn’t do anything. I wondered if I should stop making them? They were not beautiful. Nobody liked them. Nobody wanted to look at them. They were repellent and, worse, they were funny. I hated that. I wanted to be a “serious” artist. I was conflicted. I had to make the images that came to me but I was embarrassed. Maybe it wasn’t a fancy path but painting slugs was more honest than painting flowers (nothing against flower paintings, mind you). It came down to a moral choice. So, I determined to follow the slug road. Maybe it was a road that led somewhere? Or maybe not. After several years, I thought I hit a dead-end. I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Little kids liked them. I hated that. I wanted to be a “serious” artist. I’m not sure, exactly, who they are. They could be our conscience, our psychology, or simply the part inside us that yearns. They could be artists, modernists or the first of “us” that crawled out of the ocean. My best hunch is they are whatever it is that makes us want to make. I hope that’s a good thing and beautiful and seriously funny. Whatever the case, I’d like to know what it’s all about.” Jennifer Reeves...

"Pile Series" was completed during the 1970s. It has a tongue-in-cheek affect as all the prints are photographs of stacks, or "piles", of industrial construction items silkscreened on cardboard giving these building materials a more aesthetic value. These silkscreens are mentioned and one is pictured in the famous, "Kick Out the Jams: Detroit Cass Corridor 1963 - 1977" iconic publication by the Detroit Institute of Arts regarding Detroit's Cass Corridor Artists. They are all signed and numbered. James Alan Crawford was born in 1944 in Hillsdale, Michigan. He studied art for two years at Michigan State University before transferring to Wayne State University and graduating there. He received his MFA in 1969 while being mentored by John Egner and Aris Koutroulis...

Included are four 18"x24", signed, editioned color photographs. Each of the four photographs depict a a different landscape painting hung on a distressed wall. From a rural town vi...

Available at Madelyn Jordon Fine Art. 'A Meeting Place' 2022 by Carol Bouyoucos. Archival print, Photomontage, 29 x 39 in. Edition of 10. This manipulat...

Primo Tempo 3 is a 30cm x 30cm digital print on 50cm x 50cm cotton paper in a limited edition of 9 + 2 Artist Proofs. Rosa Basurto is a self-taught photographer from Spain who, wi...

Untitled Sequence (Stranger than Paradise), 2005 30x38cm, Edition of 10, Archival C-Print, based on a Polaroid. Certificate and Signature label. artist Inventory No. 844. Not m...