Carol O'Malia Art

Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...

Depictions of dead birds have a long and rich history in Western Art having been used as a subject matter by artists from Albrecht Durer to Pablo Picasso. The Golden Age of Dutch Painting brought an iconic rise to still-life painting. Much like decadent, ripe fruit and extravagant, sumptuous floral arrangements, these taxadermied birds were transformed into stunning examinations of color, light and texture. Here, artist Tina Figarelli...

A study for a series of larger paintings based on motion capture studios, this painting combines classic technique with modern sensibility. Here the seated model leans against an antiquated iMac. Upon closer examination, the preparatory sketch lines are visible on the model's feet and her forearm. Unfinished works were first seen during the Renaissance with Masters such as Leonardo da Vinci, Michelangelo and Donatello. It became fashionable to leave works incomplete, so much so, that it became an aesthetic term 'non-finito'. Andrew S. Conklin Kelsey Seated, Arm with iMac oil on panel 12h x 17w in 30.48h x 43.18w cm ACK011 Motion Capture Paintings, Chicago My recent painting series describes the reality of motion capture environments by showing the interplay between female athletes and male technicians. These paintings are meant to explore conventions of female representation in Western figurative art and to contrast this past practice with the contemporary imagery of that subject via computer-based image technology. This project was instigated by a number of things: first, by my abiding interest in depicting the human form in paint, as I find its versatility in a design, its invitation to empathy, and its difficulty, to be something worth attempting to depict with success. In addition, my curiosity regarding the new ways to depict the form using electronic technology seem to challenge to the traditional methods I rely upon, and I wanted to comment on the similarities and differences between the studios of the painters and the technicians. In this way, I aim to continue my investigation into what I see as the contrasting quality of human nature, and symbolically represent opposites such as mind and body, analog and digital, realism and idealism, terrestrial and the transcendent. Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...

This vibrant piece of artwork " Wine-tasting holiday in Provence" is a compelling example of contemporary expressionism. The painting immediately arrests attention with its vivid col...

Title: Company 1 Medium: Oil on canvas Size: 8 x 8 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is unstretched Year: 2000 Circa Artist: Zhao Wang...

Pocket Ladybird 2 is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to baroque still lif...

Pocket Peacock Butterfly 2 is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to baroque ...

Title: Running Medium: Oil on canvas Size: 8 x 8 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This painting is unstretched Year: 2000 Circa Artist: Zhao Wang...

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

Very Shiny Very Red Apple is an original oil painting by Dani Humberstone as part of her series of realistic oil paintings of fruit with a nod to baroque still life painting. The pai...

Original oil paint and acrylic paint on wooden panel by the well known American artist, Syd Solomon. Signed lower left. Signed, titled and dated 1971 verso . Condition is very good. No restorations. Original frame. Overall framed measurements are 17 by 14 inches. Partial Saidenberg Gallery, New York City label verso. Provenance: A Long Island, New York collector. American, 1917-2004 SYD SOLOMON BIOGRAPHY: Written by Dr. Lisa Peters/Berry Campbell Gallery Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow, Barney Rosset, Arthur Kopit, and Harold Rosenberg. In 1970, Solomon, along with architect Gene Leedy, one of the founders of the Sarasota School of Architecture, built an award-winning precast concrete and glass house and studio on the Gulf of Mexico near Midnight Pass in Sarasota. Because of its siting, it functioned much like Monet’s home in Giverny, France. Open to the sky, sea, and shore with inside and outside studios, Solomon was able to fully solicit all the environmental forces that influenced his work. His friend, the art critic Harold Rosenberg, said Solomon’s best work was produced in the period he lived on the beach. During 1974 and 1975, a retrospective exhibition of Solomon’s work was held at the New York Cultural Center and traveled to the John and Mable Ringling Museum in Sarasota. Writer Kurt Vonnegut, Jr. conducted an important interview with Solomon for the exhibition catalogue. The artist was close to many writers, including Harold Rosenberg, Joy Williams, John D. McDonald, Budd Schulberg, Elia Kazan, Betty Friedan...

This is the silhouette of a Japanese aralia (paperplant, false castor oil plant, fatsia japonica). The big leaves have nine lobes and spread out wide. The sky is painted a pale peac...