Gallery VICTOR

Based on Georgia Hinaris' love of the Horror Film genre, all that appears may be so much more in her work. The artist takes inspiration from these types of films with their stark cin...

Based on Georgia Hinaris' love of the Horror Film genre, all that appears may be so much more in her work. The artist takes inspiration from these types of films with their stark cin...

Spanning across three canvas panels, Kimler uses vibrant colors of blue and yellow to background a deep red abstracted cyclops figure. Kimler's use of expressive brushstrokes and bri...

This study in human contortion represents and impossible pose. By capturing twists and poses of the figure which could not be performed in real life, the artists tests his knowledge ...

Based on Georgia Hinaris' love of the Horror Film genre, all that appears may be so much more in her work. The artist takes inspiration from these types of films with their stark ci...

A woman strolls into a living room in a dimly lit apartment. With her back to us, we must decide what is happening. Based on Georgia Hinaris' love of the horror film genre, all that...

A woman appears to be sleeping in her bed but based on Georgia Hinaris' love of the horror film genre, all that appears may not be so. The artist takes inspiration from these types ...

Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the overall aesthetic. While the task of checking under the sink may seem mundane, artist G...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

With the depiction of landscape playing such a central role in the history of North American art, it seemed to offer many of the critical possibilities I was looking for, and it felt...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Carol Stewart Morning Glory, Clementine oil on paper on panel 8h x 8w x 1.50d in 20.32h x 20.32w x 3.81d cm CST016 Through her ethereal and often dreamlike paintings Carol Stewart i...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Over a hundred years ago, my grandfather registered as a homesteader with the Department of the Interior Land Office in Buffalo, Wyoming. Building a cabin on a remote 640 acre plat,...

Twenty-first century Classical Portraiture has a casual feel as seen here in "Portrait of Benjamin" by Peter Lupkin. The very masculine Benjamin, with his heavy beard, dark tousled ...

James Rizzi was an American Pop artist best known for his vibrant, youthful graphics and his three-dimensional prints. He was the official artist for the 1996 Olympic Games in Atlanta, adorning the famous logo with his noodle-like drawing style. Born on October 5, 1950 in Brooklyn, NY, the artist drew his inspiration from a diverse range of sources, such as Paul Klee, Keith Haring, Andy Warhol, and Jean Dubuffet. He studied art first at Miami Dade...

One of the key lessons we can glean from the myth of Sisyphus is the importance of resilience and perseverance in the face of adversity. Sisyphus was condemned to an eternity of ceas...

Abstract art experiments with the use of texture, tone, and light perception. Through abstract works, the artist expresses her feelings rather than particular objects or scenes. Wit...

Ben Duke One Such Morning oil on canvas 40h x 48w in 101.60h x 121.92w cm BSD034 Ben Duke b. 1977 Louisville, KY Education 2006 M.F.A., Maryland Institute College of Art, Baltimore, MD 2002 B.F.A., University of Utah, Salt Lake City...

Ben Duke Cake oil on canvas 36h x 38w in 91.44h x 96.52w cm BSD036 Ben Duke b. 1977 Louisville, KY Education 2006 M.F.A., Maryland Institute College of Art, Baltimore, MD 2002 B.F.A., University of Utah, Salt Lake City...

[From Ben Duke] The following is from Wikipedia, but I learned of this spot after getting into August Strindberg novels. "Zum Schwarzen Ferkel," translated as "The Black Piglet," was a historic tavern located at the corner of Unter den Linden and Neue Wilhelmstraße in Berlin. Notable for its cultural and historical significance, the tavern was a central meeting point for Nordic writers and artists in the 1890s. It was frequented by figures such as August Strindberg, Edvard Munch, and the Polish writer Stanisław Przybyszewski, among others. The tavern's original name was Gustav Türkes Weinhandlung und Probierstube, owned by Gustav Türke, and it was also known as "The Cloister." The name "Zum Schwarzen Ferkel" was coined by Strindberg, who thought an Armenian wine-sack hanging over the entrance resembled a black piglet. This quirky name was enthusiastically accepted by both the owner and the patrons. August Strindberg, a Swedish playwright and novelist, played a significant role in the tavern's history. After moving to Berlin in 1892, he became a regular at the tavern and a leading figure among the Nordic and German artistic community that gathered there. The tavern was not only a place for socializing but also a hub of intellectual and artistic exchange, with members engaging in vibrant discussions and forming significant relationships, both personal and professional. Edvard Munch, the Norwegian painter, also became a regular after his arrival in Berlin in 1892. The tavern saw its share of drama, including romantic entanglements and artistic disputes. One notable figure was Dagny Juel, a Norwegian music student who became involved with several members of the circle and was later tragically murdered in Tbilisi in 1901. The tavern's influence extended into the literary and artistic works of its patrons. For example, Adolf Paul wrote about his experiences and the people he met at the Ferkel in his book "Strindberg-Erinnerungen und -Briefe," published in 1914. Strindberg's novel "Klostret" ("The Cloister"), published posthumously in 1966, also drew from his experiences at the tavern. Unfortunately, the original building that housed Zum Schwarzen Ferkel was destroyed during the Second World War. Today, its legacy lives on through the stories and works of the artists and writers who once gathered there. Wikkipedia. Ben Duke Zum Schwarzen Ferkel oil on canvas 36h x 36w in 91.44h x 91.44w cm BSD039 Ben Duke b. 1977 Louisville, KY Education 2006 M.F.A., Maryland Institute College of Art, Baltimore, MD 2002 B.F.A., University of Utah, Salt Lake City...

Abstract art experiments with the use of texture, tone, and light perception. Through abstract works, the artist expresses her feelings rather than particular objects or scenes. Wit...

"High Desert Composition" is a welded steel wall sculpture where the lines between two- and three-dimensional art are blurred. The viewer has a variety of experiences from multiple vantage points where volumes and angles disconnect and reconnect as one moves around the piece. The hand welded steel is painted with acrylic paint in a kaleidoscope of color tones. Chris Hill High Desert Composition welded steel, acrylic paint 80h x 48w x 7d in 203.20h x 121.92w x 17.78d cm CHI024 Chris Hill is a Santa Fe based sculptor. Chris was born in Port Arthur, Texas but grew up in small town North Mississippi. He began welding at age 18 at the Tennessee Valley Authority...

William Blake’s oil painting asks us to perceive the powerful layers of history that shape both art and memory. In Blake’s painting is a man, but what Blake painted is an idea. Hugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. Artist, William Blake channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake Salud Johnny, 2023 oil on linen 76h x 36w in 193.04h x 91.44w cm WIL049 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...

Hugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. "No Pasaran" - an expression of determination to defend a position against an enemy - channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake No Pasaran oil on linen 48h x 30w in 121.92h x 76.20w cm WIL047 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...

Tina Figarelli is a classically trained artist whose favorite subject matter in her artwork is ideas with a strong narrative. Tina leaves the viewer hints about the story in the piec...

Tina Figarelli is a classically trained artist whose favorite subject matter in her artwork is ideas with a strong narrative. Tina leaves the viewer hints about the story in the piec...

Abstract art experiments with the use of texture, tone, and light perception. Through abstract works, the artist expresses her feelings rather than particular objects or scenes. Wit...

A casual pose, Anna gazes out toward the viewer, inviting them in for a closer look. Artist Zack Zdrale takes a traditional approach to his work although his subjects and compositions place his work in the present. His paintings are imbued with a stillness and silence for the viewer to infuse meaning. The figure, with her piercing blue eyes, takes a traditional position yet brings a casualness to the piece by her dress and the unfinished works hanging in the background. It captures an intimate moment of solitude. This artwork is framed. The painting is framed in a simple black frame with a small antiqued...

Don Pollack's work centers on portraying the interplay between society and nature. He employs impressive realism in oil painting to illustrate his personal journeys. Pollack also delves into the connections between our national memory, the North American landscape, and the rich history of the land. In his latest series, "Je Me Souviens," (I Remember) he explores the intricate relationship between French influence, language, landscape, and history in the North American Midwest. "Salt Creek...

The details are so painstakingly exact that the viewer is deceived into believing they are viewing a full scale replica of a lawyer's office from 1885. ...

Light pillars, a captivating atmospheric optical phenomenon, have been observed during extremely cold weather conditions. These mesmerizing columns of light appear to beam directly upwards from unshielded lights, creating a spectacle that captures the imagination. While they may seem otherworldly, light pillars are actually a result of plate-shaped ice crystals suspended in the air close to the ground. Here, artist Jeff Aeling uses loose brush strokes and gentle dabs of paint evoke impressionist painting while the palette sets a tranquil scene for this singular light pillar. The painting is framed in a heavy black wooden frame burnished to reveal red undertones measuring 20.5h x 16.5h x 1.75d inches. Jeff Aeling Light Pillar oil on panel 14h x 10w in 35.56h x 25.40w cm JAE034 Jeff Aeling b. 1958, Iowa City, IA Represented in Chicago by Gallery VICTOR Education BFA, Painting and Printmaking, Kansas City Art Institute – Kansas City, MO School of the Art Institute of Chicago – Chicago, IL Solo Exhibitions 2016 Philip Slein Gallery - St. Louis, MO William Havu Gallery - Denver, CO 2015 Perimeter Gallery - Chicago, IL Sherry Leedy Contemporary Art - Kansas City, MO 2014 J Mark Sublette Gallery - Tucson, AZ Philip Slein Gallery - St. Louis, MO 2013 Perimeter Gallery - Chicago, IL Sherry Leedy Contemporary Art - Kansas City, MO 2012 Philip Slein Gallery - St. Louis, MO William Havu Gallery - Denver, CO 2011 Philip Slein Gallery - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 2010 Perimeter Gallery - Chicago, IL Richard Demato Fine Arts Gallery - Sag Harbor, NY William Havu Gallery - Denver, CO 2009 J Mark Sublette Gallery - Tucson, AZ Sherry Leedy Contemporary Art - Kansas City, MO 2008 Perimeter Gallery - Chicago, IL William Havu Gallery - Denver, CO 2007 J Mark Sublette Gallery - Santa Fe, NM Philip Slein Gallery - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 2006 Tory Folliard Gallery - Milwaukee, WI William Havu Gallery - Denver, CO 2005 Lisa Kurts Gallery - Memphis, TN Perimeter Gallery - Chicago, IL 2005 Philip Slein Gallery - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 2004 J Mark Sublette Gallery - Santa Fe, NM William Havu Gallery - Denver, CO 2003 J Mark Sublette Gallery - Tucson, AZ Lisa Kurts Gallery - Memphis, TN Sherry Leedy Contemporary Art - Kansas City, MO 2002 J Mark Sublette Gallery - Santa Fe, NM Perimeter Gallery - Chicago, IL Perimeter Gallery - New York, NY 2001 J Mark Sublette Gallery - Tucson, AZ J Mark Sublette Gallery - Santa Fe, NM Sherry Leedy Contemporary Art - Kansas City, MO 2000 Charlene Cody Gallery - Santa Fe, NM Perimeter Gallery - Chicago, IL Sherry Leedy Contemporary Art - Kansas City, MO 1999 Charlene Cody Gallery - Santa Fe, NM Elliot Smith Contemporary Art - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 1998 Charlene Cody Gallery - Santa Fe, NM Elliot Smith Contemporary Art - St. Louis, MO Leedy-Voulkos Art Center Gallery - Kansas City, MO Perimeter Gallery - Chicago, IL 1996 Grand Arts - Kansas City, MO 1994 Gallery V - Kansas City, MO 1993 Sean Kelly Gallery - Kansas City, MO 1991 Tribal Textile Gallery - Kansas City, MO Selected Group Exhibitions 2022 Kiss Me, It’s Beginning to Snow, Gallery Victor Armendariz, Chicago, IL 2021 2019 Es-Scape, Gallery Victor Armendariz, Chicago, IL Earth Wind & Fire, Gallery Victor Armendariz, Chicago, IL 2018 Portraits and Places: Select works from Gallery Victor Armendariz, curated by Corporate Art Advisory, Metropolitan Capital Bank, Chicago, IL Art Hamptons, Gallery Victor Armendariz, Bridgehampton, NY Front and Center, Gallery Victor Armendariz, Chicago, IL 2004 Art Chicago, Navy Pier...

Artist Jeff Aeling captures a volcano as it spews a giant column of lava and gas into the air creating a massive ash cloud. The artist's use of loose brush strokes and gentle dabs of paint evokes impressionist painting while the palette sets a tranquil scene for this landscape. The painting is framed in a heavy black wooden frame burnished to reveal reddish undertones measuring 16.5 x 14.5 x 1.5 inches. Jeff Aeling Volcano oil on panel 10h x 8w in 25.40h x 20.32w cm JAE037 Jeff Aeling b. 1958, Iowa City, IA Represented in Chicago by Gallery VICTOR Education BFA, Painting and Printmaking, Kansas City Art Institute – Kansas City, MO School of the Art Institute of Chicago – Chicago, IL Solo Exhibitions 2016 Philip Slein Gallery - St. Louis, MO William Havu Gallery - Denver, CO 2015 Perimeter Gallery - Chicago, IL Sherry Leedy Contemporary Art - Kansas City, MO 2014 J Mark Sublette Gallery - Tucson, AZ Philip Slein Gallery - St. Louis, MO 2013 Perimeter Gallery - Chicago, IL Sherry Leedy Contemporary Art - Kansas City, MO 2012 Philip Slein Gallery - St. Louis, MO William Havu Gallery - Denver, CO 2011 Philip Slein Gallery - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 2010 Perimeter Gallery - Chicago, IL Richard Demato Fine Arts Gallery - Sag Harbor, NY William Havu Gallery - Denver, CO 2009 J Mark Sublette Gallery - Tucson, AZ Sherry Leedy Contemporary Art - Kansas City, MO 2008 Perimeter Gallery - Chicago, IL William Havu Gallery - Denver, CO 2007 J Mark Sublette Gallery - Santa Fe, NM Philip Slein Gallery - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 2006 Tory Folliard Gallery - Milwaukee, WI William Havu Gallery - Denver, CO 2005 Lisa Kurts Gallery - Memphis, TN Perimeter Gallery - Chicago, IL 2005 Philip Slein Gallery - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 2004 J Mark Sublette Gallery - Santa Fe, NM William Havu Gallery - Denver, CO 2003 J Mark Sublette Gallery - Tucson, AZ Lisa Kurts Gallery - Memphis, TN Sherry Leedy Contemporary Art - Kansas City, MO 2002 J Mark Sublette Gallery - Santa Fe, NM Perimeter Gallery - Chicago, IL Perimeter Gallery - New York, NY 2001 J Mark Sublette Gallery - Tucson, AZ J Mark Sublette Gallery - Santa Fe, NM Sherry Leedy Contemporary Art - Kansas City, MO 2000 Charlene Cody Gallery - Santa Fe, NM Perimeter Gallery - Chicago, IL Sherry Leedy Contemporary Art - Kansas City, MO 1999 Charlene Cody Gallery - Santa Fe, NM Elliot Smith Contemporary Art - St. Louis, MO Sherry Leedy Contemporary Art - Kansas City, MO 1998 Charlene Cody Gallery - Santa Fe, NM Elliot Smith Contemporary Art - St. Louis, MO Leedy-Voulkos Art Center Gallery - Kansas City, MO Perimeter Gallery - Chicago, IL 1996 Grand Arts - Kansas City, MO 1994 Gallery V - Kansas City, MO 1993 Sean Kelly Gallery - Kansas City, MO 1991 Tribal Textile Gallery - Kansas City, MO Selected Group Exhibitions 2022 Kiss Me, It’s Beginning to Snow, Gallery Victor Armendariz, Chicago, IL 2021 2019 Es-Scape, Gallery Victor Armendariz, Chicago, IL Earth Wind & Fire, Gallery Victor Armendariz, Chicago, IL 2018 Portraits and Places: Select works from Gallery Victor Armendariz, curated by Corporate Art Advisory, Metropolitan Capital Bank, Chicago, IL Art Hamptons, Gallery Victor Armendariz, Bridgehampton, NY Front and Center, Gallery Victor Armendariz, Chicago, IL 2004 Art Chicago, Navy Pier...

Light pillars, a captivating atmospheric optical phenomenon, have been observed during extremely cold weather conditions. These mesmerizing columns of light appear to beam directly u...

Cartography, the study and practice of making and using maps, was at the cutting edge in the 18th-century, helping to shape and define a world rapidly coming into focus. Over the course of the century, exploration and colonization expanded the scope of the known world, especially in the Pacific and the Americas. Advances in geography enabled cartographers to map these new discoveries with increasing accuracy. The days of conjecture and myth in cartography were fast coming to an end. Here, the Kupjack Studios has captured this discipline with exacting details. From the smallest of tools, to the rolls of maps and maps in progress displayed on the desk, the world of miniatures comes to life and brings us into a bygone era. Kupjack Miniatures 18th Century New England Cartographer, circa. 2008 mixed media 14h x 26.25w x 14.75d in 35.56h x 66.67w x 37.47d cm KJK001 Eugene Kupjack and his sons Hank and Jay created museum quality miniature rooms in their studio outside of Chicago for many years. Hank and Jay learned the at their father’s side as he assisted Mrs. Narcissa Niblack Thorne with the creation her many miniature rooms now housed at The Art Institute of Chicago. Almost every piece of molding, furniture, rugs, and accessory items that are contained in their rooms are designed and created by hand. In addition to designing and building rooms they would sometimes work to restore the rooms built many years ago by their father and Mrs. Thorne. Their work can be seen in various museums as far away as Turkey where they were exhibited in 2009. In the United States their work can be seen in the permanent collections of The Kentucky Museum Center, The Art Institute of Chicago, The Philadelphia Art Museum...

A bridge to nowhere has been taking no one there for almost 70 years. The Liesenbrücken bridge has been rusting with iron will and doing little else since it was abandoned in favor o...

I’ve always been attracted to the built environment. Bridges are a great subject. Each one is specially engineered to solve the problem of how to get across the void. While usually n...

This dynamic table sized sculpture is created from sheets of steel, welded together in an abstract geometric pattern and then painted with an acrylic paint to enhance the surface. While the work adheres to a rigid, rational geometry, this sculptures suggest lyrical movement, apparent weightlessness and improvisation as the title suggests. Chris Hill Spirit welded steel, acrylic paint 16.50h x 11.50w x 7d in 41.91h x 29.21w x 17.78d cm CHI021 Chris Hill is a Santa Fe based sculptor. Chris was born in Port Arthur, Texas but grew up in small town North Mississippi. He began welding at age 18 at the Tennessee Valley Authority...

This dynamic table sized sculpture is created from sheets of steel welded together in an abstract geometric pattern. While the work adheres to a rigid, rational geometry, this sculptures suggest lyrical movement, apparent weightlessness and improvisation as the title suggests. Chris Hill Zia Rising welded steel, acrylic paint 14.50h x 13w x 5d in 36.83h x 33.02w x 12.70d cm CHI022 Chris Hill is a Santa Fe based sculptor. Chris was born in Port Arthur, Texas but grew up in small town North Mississippi. He began welding at age 18 at the Tennessee Valley Authority...

This untitled work by Jesús Villalpando (aka Feng) is colorful in its composition with it's thickly applied paint and rapid brushstrokes. The work is effortless, if not completely i...

Don Pollack's work centers on portraying the interplay between society and nature. He employs impressive realism in oil painting to illustrate his personal journeys. Pollack also del...

This dynamic table sized sculpture is created from sheets of steel and rods, welded together in an abstract geometric pattern. While the work adheres to a rigid, rational geometry, this sculptures suggest lyrical movement, apparent weightlessness and improvisation as the title suggests. Chris Hill Free Flow welded steel, acrylic paint 21.5h x 11w x 5d in 43.18h x 20.32w x 12.70d cm CHI020 Chris Hill is a Santa Fe based sculptor. Chris was born in Port Arthur, Texas but grew up in small town North Mississippi. He began welding at age 18 at the Tennessee Valley Authority...

Postcards From the Edge of the West My work originates from journey and travel. The process often begins with extensive historic research, followed by an epic journey into the landscape as a means of experiencing the land. The paintings document a landscape that flows between two realities: one outside the picture attempting to capture nature and one inside the material flow of abstracting the experience of space. I utilize the traditional methods of landscape painting such as the observation of light, shadows, and transparency, and try and merge that process with the emotional space held by a direct experiences in the land, memory, and history. The white border surrounding each painting suggests a card and the souvenir printed material – a postcard – sent out when on a journey; much like the journey I take part of in my artistic process. This particular painting (card) is inspired from the landscapes along the Coeur d’Alenes trail in Northern Idaho. It is a place of rugged and stark beauty barely on the old maps and outside the edge of the Louisiana Colony. It is a place that is part image and part abstraction; color field painting and rendering; a place not yet born. –Don Pollack The lush landscape in Don Pollack's "Coeur d'Alenes Trail" brings a calm serenity to the viewer. The deep green pines in the are reflected on the calm water while a moon illuminates the entire scene. A deliberate white border on the canvas "frames" the entire piece and enhanced by the simple white frame measuring 37.5 x 61.5 inches. Don Pollack Coeur d'Alendes Trail oil on canvas 36h x 60w in 91.44h x 152.40w cm DJP027 Don Pollack BIOGRAPHY Don Pollack is a Painter and Adjunct Associate Professor of Visual Communication at the School of the Art Institute of Chicago. His work investigates among other things, the relationship between personal mythologies and representation in painting and how it may simultaneously give reference to a narrative.Working in cross disciplines has influenced his perspectives as projects begin with an epic adventure. Conceptually proceeding from the premise that all vision is historic and constructed, Pollack’s research starts with the planning of a long distance trek,– such as a 3000 mile journey via bicycle following Lewis and Clark. His work has utilized maps, documents, photography, painting, and installation.This work was routed in a previous investigation into the role of museums in the process of forming collective memory. Don studied design at the University of Illinois and painting at the Ohio State University where he received his MFA.The state of Illinois has recognized his history based work with a special bicentennial edition of the ‘Order of Abraham Lincoln’ award. He has exhibited nationally and internationally and has shown many solo shows in, Chicago, New York, Atlanta, and Canada. True Life Novelettes is the most recent addition to the bigger project; Crossing The Great Divide which is loosely a series of landscape and history projects I began in 2009. It explores among other things, current events and personal literary interests through the construction of large scale [48x72”] book cover paintings. I use a variety of images juxtaposed with bylines and misplaced authors in order to create new meanings. I read the print edition of the New York Times for current content and subject matter, and because I still like the feel of a large document and printed typography. Recently and with a twist of prescient irony, a found myself reading a special supplemental section of the Times declaring that “the post-text future is here!” Could that be good for painting, now that we are entering an online culture ruled by pictures! But if our information will become dominated by pictures, slogans, and emotional announcements, I do fear that the arguments driving political discourse will soon become completely supplicated by popular memes. What should the new best sellers look like? Do I have enough time to read them? Underneath all this fanfare is it possible that the discussion will also be reduced to the display of personal artifacts of material culture? In the fashion section of today’s Times the headline reads, “Can you wear Dior to the Protest March?” (Enter my books.) I first start by writing columns and mixing up the authors with made-up titles (from films and books) and looking for strange connections to create a metaphorical tension. I then look for popular images and taglines in the news, print media, and the publishing business, and search for catchy phrases from film dialog. Then I combine everything into a new design layout to form a hybrid of ‘true life novelettes’ and modern classics. Climate change denial and alt/fake news declarations become great sources for topics in the overwhelming modern noise machine too grim to bear. I cancel my cable subscription. But what are the conditions for making a painting in a world saturated with images? While the representational, abstract, and technical concerns of painting collapse into the same memory well, what are we to say especially when we have “seen all the films and seen all the pictures”? The works of Tursic and Mille have pointed me into this new direction. In order to visually reclaim myself from disappearing into the ruins, I adopt a strategy combining editorial cartooning, oil painting and graphic design. I am attracted to those handsome publisher’s design formats, especially the ones that utilize carefully-placed typography and eclectic images– such as Everyman’s Library, Penguin Books, and Barnes and Noble. There are colored stripes running along the sides of the covers identifying the modern story collections, with the authors’ names set in script fonts. These various formats also hold the space to paint a combination of historic events and contemporary imagery from popular culture. I also patrol the web and search for vintage advertising campaigns for copy. Perhaps this grimness can have an uplifting thread. However, Virginie Vuillaume in Another Girl warns, “desire leads to disaster, partly bound up with fiction but also with death and catastrophe. The fate of those who are in love with images is always tragic, desire always leads to disaster.” So now Tursic and Mille’s painting that appropriated an image of a house on fire from a scene from Andrei Tarkovski’s film The Sacrifice also becomes my subject matter for the cover of the Year of Living Dangerously. For 2017, The Year of the Eclipse, the cover takes direction from a modern classic rendition of Frankenstein, with his head screwed on backwards. Maybe the only way left to paint now is by moving things forward by the only way possible,– through other mediums. The byline lyric for Eclipse is now taken from the Youngbloods popular song of 1967, Get Together,–so come on Frankenstein, ‘Smile on Your Brother’. Don Pollack EDUCATION m.f.a. Ohio State University Columbus,Ohio b.f.a. University of Illinois Urbana, Illinois SOLO EXHIBITIONS 2018 Gallery Victor Armendariz, Story Tellers, Don Pollack: True Life Novelettes, Chicago, Illinois 2016 Bridgeport Art Center, this land is not empty, Chicago, Illinois Carnegie Museum for Art and History, bernheim arboretum, New Albany, Indiana 2013 Perimeter Gallery, 34 days to washington, Chicago, Illinois 2011 Newzones Gallery, far from home, Calgary,Alberta, canada MarciaWood Gallery, far from home, Atlanta,Georgia 2010 Perimeter Gallery, mysterious island, Chicago, Illinois Marquette University Law Library, laying the foundation [a Lincoln Portrait], Milwaukee, Wisconsin 2009 Abraham Lincoln Presidential Library and Museum, the lincoln project, Springfield, Illinois The Union League Club, the lincoln project, Chicago, Illinois 2007 Newzones Gallery, the sheltering sky, Calgary,Alberta, canada Merwin andWakeley Galleries, IllinoisWesleyan University, american inheritance, Bloomington, Illinois MarciaWood Gallery, night, Atlanta,Georgia 2006 MargaretThatcher Projects, american gothic, past imperfect, NewYork,NewYork Perimeter Gallery, improvisation, Chicago, Illinois 2005 Newzones Gallery, missives, Calgary,Alberta, canada MarciaWood Gallery, south of the tennessee, remains of the campaign, Atlanta, Georgia 2004 Perimeter Gallery, voyages of discovery, from the earth to the moon, NewYork, NewYork 2003 Newzones Gallery, garden of forking paths, Calgary,Alberta, canada Perimeter Gallery, a search for heroes, lincoln & the illinois landscape, Chicago, Illinois 2002 Perimeter Gallery, ancien regime, NewYork,NewYork MarciaWood Gallery, ancien regime, Atlanta,Georgia 2001 Newzones Gallery, ancien regime, Calgary,Alberta, canada 2000 Perimeter Gallery, between heaven and earth, Chicago, Illinois Newzones Gallery, preview, Calgary,Alberta, canada 1999 Newzones Gallery, north american inheritance, Calgary,Alberta, canada MarciaWood Gallery, american inheritance, Atlanta,Georgia 1998 MarciaWood Gallery, entering the circle, Atlanta,Georgia 1997 Newzones Gallery, crossing the next meridian, Calgary,Alberta, canada 1996 Peter Miller Gallery, landscape and memory, Chicago, Illinois MarciaWood Gallery, mythopoeia, an american portrait, Atlanta,Georgia 1995 Elliot Smith Gallery, St.Louis,Missouri Marx-Saunders Gallery, International Art Exposition, Chicago, Illinois 1994 Deson-Saunders Gallery, shadowlands, Chicago, Illinois 1993 Monte Clark Gallery, Vancouver,British Columbia, canada Bess Cutler Gallery, NewYork,NewYork 1992 Deson-Saunders Gallery, Chicago, Illinois 1991 Bess Cutler Gallery, NewYork,NewYork Deson-Saunders Gallery, between earth and sky, Chicago, Illinois 1989 Deson-Saunders Gallery, Chicago, Illinois 1988 Ann Nathan Gallery, Chicago, Illinois 1987 Houghton College, Houghton,NewYork SELECTED GROUP EXHIBITIONS 2015 architectural biennial, Brininstool and Lynch, Chicago, Illinois 2014 black and white, Perimeter Gallery- Chicago, Chicago, Illinois 2012 art miami , Perimeter Gallery- Chicago, Miami, Florida Group Show, Perimeter Gallery, Chicago, Illinois 2011 art chicago, The Merchandise Mart, Perimeter Gallery, Chicago, Illinois Group Show,Kenise Barnes Gallery, Larchemont,NewYork 2010 pull, MarciaWood Gallery, Atlanta,Georgia memory is a metaphor, Kenise Barnes Gallery, Larchmont,NewYork our kind of town, Rena Sternberg Gallery, Glencoe, Illinois 2009 nature satisfies by its loveliness, Kenise Barnes Gallery, Larchmont,NewYork the exquisite corpse, Renaissance Society, University of Chicago, Chicago, Illinois the big picture show, Newzones Gallery, Calgary,Alberta, canada 2008 this just in, MarciaWood Gallery, Atlanta Georgia portraying lincoln, Madden Arts Center, Decatur, Illinois contemporary art institute of detroit, Curator’s Choice, Detroit,Michigan art chicago, The Merchandise Mart, Perimeter Gallery, Chicago, Illinois 2007 artwork 5, Gallery 2,Art Institute of Chicago, Chicago, Illinois artscapes, Knoxville Museum of Art, Knoxville,Tennessee atlanta gallery association preview, rep: MarciaWood Gallery, Eatonton,Georgia out of the garden, Rena Sternberg Gallery, Glencoe, Illinois art chicago, The Merchandise Mart, Perimeter Gallery, Chicago, Illinois 2006 states of seige, Fine Arts Center Galleries, University of Rhode Island, Kingston,Rhode Island landscape x10, Newzones Gallery, Calgary,Alberta, canada pulse, MargaretThatcher Projects, NewYork,NewYork 2005 summer sensation, Thatcher Projects, NewYork,NewYork Perimeter Gallery, Chicago, Illinois landscape x9, Newzones Gallery, Calgary,Alberta, canada 2004 Perimeter Gallery, Chicago, Illinois landscape x9, Newzones Gallery, Calgary,Alberta, canada 2003 landscape x9, Newzones Gallery, Calgary,Alberta, canada San Francisco Art Exposition, Newzones Gallery of Contemporary Art Calgary,Alberta, canada contemporary landscape, Perimeter Gallery, Chicago, Illinois deck the walls, Newzones Gallery, Calgary,Alberta, canada 2002 landscape x9, Newzones Gallery, Calgary,Alberta, canada San Francisco Art Exposition, Newzones Gallery of Contemporary Art Calgary,Alberta, canada 2001 departure: american contemporary landscape, Indiana University Northwest Gary, Indiana Rena Sternberg Gallery, Glencoe, Illinois International Art Exposition:Chicago, Perimeter Chicago, Illinois Miami Art Exposition, Newzones Gallery of Contemporary Art Calgary,Alberta, canada 2000 landscape x8, Newzones Gallery, Calgary,Alberta, canada San Francisco Art Exposition, Newzones Gallery of Contemporary Art Calgary,Alberta, canada International Art Exposition:Chicago, Perimeter Gallery Chicago, Illinois 1999 requiem, Nexus Contemporary Art Center Atlanta,Georgia family album, MarciaWood Gallery Atlanta,Georgia 1998 the nature of landscape, South Bend Regional Museum of Art South Bend, Indiana cornucopia, Winston-Wachter Gallery NewYork,NewYork paradise and its transformations, Georgia State University, School of Art & Design Gallery Atlanta,Georgia landscape x six, Newzones Gallery of Contemporary Art Calgary,Alberta, canada land, air, & sea, Elliot Smith Gallery St.Louis,Missouri 1997 Marguerite Oestricher Gallery New Orleans, Louisiana MarciaWood Gallery Atlanta,Georgia Peter Miller Gallery Chicago, Illinois International Art Exposition:Chicago, Peter Miller Gallery Chicago, Illinois Seattle International Art Exposition, Newzones Gallery of Contemporary Art Calgary,Alberta, canada 1996 Center for the Arts Calgary,Alberta, canada Newzones Gallery of Contemporary Art Calgary,Alberta, canada International Art Exposition:Chicago, Peter Miller Gallery Chicago, Illinois Seattle International Art Exposition, Newzones Gallery of Contemporary Art Calgary,Alberta, canada introductions, Newzones Gallery of Contemporary Art Calgary,Alberta, canada Peter Miller Gallery Chicago, Illinois 1995 contemporary realists, Newzones Gallery of Contemporary Art Calgary,Alberta, canada the nature of landscape, Fontbonne College St. Louis,Missouri first in flight, Deson-Saunders Gallery Chicago, Illinois Newzones Gallery of Contemporary Art Calgary,Alberta, canada MarciaWood Gallery Atlanta,Georgia International Art Exposition:Chicago, Deson-Saunders Gallery Chicago, Illinois 1994 contemporary realists, Newzones Gallery of Contemporary Art Calgary,Alberta, canada Monte Clark Gallery Vancouver,British Columbia, canada 10th anniversary group exhibition, Elliot Smith Gallery St.Louis,Missouri International Art Exposition:Chicago, Deson-Saunders Gallery Chicago, Illinois 1993 Robert Berman Gallery Santa Monica, California the dreamer awakes, Deson-Saunders Gallery Chicago, Illinois west art...

Carol Stewart Late Afternoon, February oil on paper on panel 59.50h x 40w in 51.13h x 101.60w cm CST011 Through her ethereal and often dreamlike paintin...

Carol Stewart Ontario Summer Painting oil on paper on panel 24 x 20w in 60.96h x 50.80w cm CST010 Through her ethereal and often dreamlike paintings Car...

Carol Stewart Coneflower, Rudbeckia oil on paper on panel 11h x 18w in 27.94h x 45.72w cm CST008 Through her ethereal and often dreamlike paintings Caro...

I am interested in the abstract elements of the art work as much as the subject matter. My still life paintings are not still. I feel that my paintings are lasting over time and invite repeated exploration. –Carol Stewart...

"Patterns and Pansy" by Carol Stewart is a small abstracted still life painting with vibrantly patterned fabrics. In front sits a small glass dome and a ...

Rick Beerhorst Venetian Venus oil on canvas 23.50h x 23.50w in 59.69h x 59.69w cm RIB006 Rick Beerhorst B. 1960 Education 1987 University of Illinois...

***This artwork is currently on exhibit at the Instituto Cervantes, Chicago until September 2025. If purchased this artwork will be available to ship after September 1, 2025. Contact the gallery with questions. Cuban born “Pozas” is a self-educated artist. After completing his studies in Electrical...