Marco Amici Figurative Paintings

Charleston native and celebrated native, Anne Darby Parker, has spent her life creating. As a young child she learned to knit from her mother and grandmother and later, developed a passion for photography. After a successful career as a photographer her artistic interests evolved into painting. She recently earned her MFA at Academy of Art University. Anne paints daily in her Sullivan’s Island studio surrounded by the natural elements of the island. Several of her paintings have been featured in juried exhibitions, including Xavier University...

Work : Original Oil Painting, Handmade artwork, Unique Work. Medium : Oil painting on stretched Linen. Artist : Jade Boissin Subject : Le lapin (Title) Signature : The work is signe...

Oil, acrylic, and mixed media on canvas

Original Painting of Neon Reflections in the New York City Rain, by Contemporary British Urban Artist, Angela Wakefield. This is a major work to continue her...

America Martin "Blue Monkey" Oil & Acrylic on Canvas 24 x 18 in. ; 25.5 x 19.5 in. Framed ______________ Exploring the identity of both her namesake and c...

Michelle Andres is a contemporary American oil painter, writer and poet who draws from nature to celebrate joy and hopefulness in our often challenging world. She has worked in abstr...

Alejandro Rubio Coastal View, 2023 Oil on canvas 16 x 46 inches This one-of-a-kind oil painting on canvas is stretched across wooden stretcher bars.

America Martin "Cat & Bird" Oil & Acrylic on Canvas 24 x 24 in. ; 25.5 x 25.5 in Framed ______________ Exploring the identity of both her namesake and country, LA-based America Mart...

Zoa Ace's (US based) "Companions" is an original, handmade oil painting portraying two donkeys with shells. The piece is on gallery wrapped stretched canvas and is ready to hang. A...

"People on the Move 6" by RU8ICON1 is a monochromatic oil painting on canvas, from 2019. It depicts bicyclists in motion. The pallet is turquoise and white and is part of RU8ICON1'...

Cool painting of intriguing woman. About the artist: Raised in the late sixties and seventies by artists, Cabada was immersed in a vibrant world filled with color and abstract co...

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...