Cake Art

L'ombra del Gigante - by Roberto Petrocchi is a vintage photograph realized in the 1999. Good conditions.

Triple Rainbow Cake, Pop Art Sculpture Original pop art style cake sculpture 7.25" x 12" Oil paint on custom wood panel Original artwork signed by the artist. This cake sculptu...

Judith Bledsoe, American (1938 - 2013) - Atlanta Olympics - Athlete with Ball. Year: circa 1996, Medium: Pastel and Collage on Paper, signed l.r., Size: 25.5 x 19.5 in. (64.77 x 49....

Puddle of Yum, Original Pop Art Sculpture This collaborative cake sculpture was created by Ann Marie Coolick and Palm Springs artist by Betsy Enzensbe...

Mexican, sculpture, contemporary, figurative

Aurélien was born and raised in France, where he graduated from the École Nationale Supérieure des Beaux-Arts in Paris and the Haute École dʼArt et de Design in Geneva. He completed ...

"Center of Attention" Oil on Panel, 6 x 6 inches. Painting of Five Cupcakes with White Frosting and Red Sprinkles on a Pale Blue Background. Framed in Silver ( 11 x 11 Inche...

artwork dimensions (unframed): 35.5h x 39w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

Ruan Hoffmann uses ceramic earthenware as his preferred medium. Ruan Hoffmann chooses familiar objects such as plates as his canvases, however the resulting works are not presented a...

The first work of Clint Neufeld I ever saw was a hulking engine rendered in pink and lime green ceramic, so large that it hung from its own crane. It was called Screaming Jimmy, the ...

From Sharon Core's series Oldenburgs, which playfully explores the sculptural work of Claes Oldenburg.

Art Sz: 23"H x 14 1/2"W Alexander Warren Montel (1921-2002)

Clint Neufeld was born and raised in small town Saskatchewan. Prior to pursuing a career in art, Neufeld spent three years with the Canadian military, which included a deployment to ...

"For a Friend" Oil on Panel, 6 x 6 inches. Painting of Chocolate Cupcake with Pink Frosting on a Green and White Background with Dots. Framed in Silver ( 11 x 11 Inches Framed Size). There are 7 additional cupcake paintings...

The bold flowers and repeating geometric patterns in this series of paintings are lushly modeled in oil paint, and are coupled with the use of inlaid wood. Surrounding the colorful and whimsical bouquets and garlands is a border of complimentary colors rife with kaleidoscopic floral images to further entice the eye. Influences of Persian miniatures and French Baroque are prevalent, as well as traditional floral painting which was used to document nature’s beauty. The artist states, “By using subject matter that is historically decorative and painterly, I seek to explore the medium’s more ethereal content.” The paintings become visually intense and hallucinatory as different varieties of flowers and leaves dance and intertwine in the geometry of the surrounding patterns. Traditionally mysticism was effectively communicated in painting through an assortment of lyrical, painterly indulgences, creating a supernatural, as well as an escapist experience. Matt Jacobs...

Sz: 23"H x 14 1/2"W Alexander Warren Montel (1921-2002) Fashion illustrator for House of Lanvin Paris in the 1950s featured in Harper's Bazaar Guitar Player

Clint Neufeld was born and raised in small town Saskatchewan. Prior to pursuing a career in art, Neufeld spent three years with the Canadian military, which included a deployment to ...

Ardan Özmenoğlu draws from her own experiences as a Turkish woman to explore ideas about history, popular culture, and the formation of a national and cultural identity. Known for her figurative works made from Post-it notes and sculptures created from layers of glass panels, Özmenoğlu aims to make the viewer rethink familiar concepts, objects, and imagery using everyday items. Works such as Beauty Balloon Pink with Triangles (2020) exude playfulness and uniqueness in their recontextualization of mundane objects. In works like post-it leaves (2019), she prints images on sticky notes...