Lane Timothy Art

Kiara Aileen Machado is a contemporary artist born in Lynwood, California who depicts and explores the construction of identity, familial lineage,...

“Good artists borrow. Great artists steal.” A quote oft attributed to various sources that was never actually uttered by any of them. Though Mark Twain elaborated on the sentiment...

“Good artists borrow. Great artists steal.” A quote oft attributed to various sources that was never actually uttered by any of them. Though Mark Twain elaborated on the sentiment...

This painting is a portrait of Madonna the pop star to modernize and empower Munch's Madonna by opening her eyes to confront the viewer. --------------------------------------------...

Michael Tole says of his work… This painting reimagines the moment when Cleopatra contemplates suicide after her battlefield loss to Octavian. In this revisionist history, Cleopatr...

In highly developed nations today there is a widespread alienation and loneliness that engenders fear and distrust, a restrictive self-righteousness of thought, and a dread of what-c...

This depicts an Art Institute of Chicago gallery space with a fictional sculpture. The two men rendered in the sculpture are based on white youth who attacked and beat Ted Landsmark, a black lawyer...

In 1959, Ruth Owens was born to a young German woman and a Black serviceman from Georgia. The nomadic military lifestyle of her childhood was complicated by restrictions to mixed fam...

Kiara Aileen Machado is a contemporary artist born in Lynwood, California who depicts and explores the construction of identity, familial lineage,...

NORA SEE grew up in Allentown, Pennsylvania, where, as a child, she taught herself to draw. She received a Bachelor of Fine Arts in Painting from the Corcoran College of Art and Design and a Master of Fine Arts from the University of New Orleans. She works and lives in New Orleans. In her oil paintings, Nora See renders framed paintings on walls with which human figures interact. Through her classical painting style and the use of historical visual references, her pieces contrast the past with the present. By combining these temporal elements with the use of frames as containers, she explores themes of consumption, imprisonment, and liberation. Nora’s work has been exhibited in a variety of venues and is also in the personal collection of Blake Lively and Ryan Reynolds. The artist says of her work... “Good artists borrow. Great artists steal.” A quote oft attributed to various sources that was never actually uttered by any of them. Though Mark Twain elaborated on the sentiment: “Ninety-nine parts of all things that proceed from the intellect are plagiarisms.” In the Framed Series, I use my 1% contribution to combine issues of consumption with my autobiography. I paint copies of copies of paintings within paintings to reference the appropriation, commodification, and altered continuum of art. My paintings of paintings are based on photographs of originals to perpetuate the continual distillation of form, given the ease with which images are presently exchanged and modified. Further, by reducing historically significant paintings to framed objects...

Based on one of the painting galleries at the Met, but with a fictionalized sculpture, the form of which is based on an iconic photo by Will Counts, capturing a white segregationist kicking Alex Wilson, a black journalist, in the head on Sep. 23, 1957. Alex Wilson was in Little Rock, AR, as the 'Little Rock Nine' attempted to enter the segregated public schools. [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...

AKIHIKO SUGIURA (b. 1979) is a Japanese painter from Hyogo, Japan whose artistic style mixes purely physical non-representational art with a base of traditional representational pain...