Gallery VICTOR Art

[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...

Patrick Vale Cityscape acrylic and ink on paper 24h x 38w in 60.96h x 96.52w cm Framed: 28.50h x 42.50w x 2.25d in 72.39h x 107.95w x 5.71d cm PKV020 Se...

Oliver Hazard Benson The Blue Knight giclee 35h x 23w in 88.90h x 58.42w cm 1/11 AP OB0032 Oliver Hazard’s paintings are produced directly from his i...

An overly exaggerated nude figure is the subject of Oliver Hazard Benson's drawing entitled "TnT". Upon closer look, the artist's fine hand is evident in the amazing detail in the f...

"Descriptions I have heard or read of my work, most of which either delight or offend me, are: allegorical, apocalyptic, provocative, prophetic, dream-like, surreal, fantastic, weird, frightening, disturbing, demanding, despairing, disgusting, irrelevant, inspiring, old, new-old, fascinating, morbid, medieval, bizarre, cathartic, mystery-plays (I like that), and well drawn." - David Becker David Becker Day of the Painter graphite on paper 22h x 34w in 55.88h x 86.36w cm DB0017 David Becker Exhibitions 2017 Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001  Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000  Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on request Arkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconsin-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennessee – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser, Chicago, IL Michael John Hofer, Chicago, IL Drs. Mark & Helene Connolly, River Forest, IL Jamie Kalikow, New York, NY Dianne & Jim Blanco, Chicago, IL Denise Roberge, Palm Desert, CA Tish & Philip Messinger, Creskill, NJ Brian Wesphal & Michael McVicker, Chicago, IL Ralph Privoznik, Lafayette, IN Candice Groot, Evanston, IL Shoemaker/Ruud Collection, Chicago, IL Braden Berkey and Robert Bartlett, Chicago, IL Bill and Karyn Silverstein, Highland Park, IL Steve Weitz, Lovettsville, VA Mary Allice Wimmer, Madison, WI Ann & Robert Avery...

This painting of moonlight shining through clouds at night evokes the peaceful beauty and mystery of a moment at the seaside. Paintings at night time are a rare commodity and this moody, dusky image is masterfully painted by Jeff Aeling. The painting is framed in a heavy black custom wood frame measuring 44.5h x 32.5h inches. Jeff Aeling Moonrise, Kauai oil on panel 36h x 24w in 91.44h x 60.96w cm JAE028 Jeff Aeling b. 1958, Iowa City, IA 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...

John Hrehov is a master at storytelling. Here, the artist presents us with a curious scene. In a sparsely decorated room albeit family portraits, a son is witnessing his father doing something very peculiar. Hrehov calls on the viewer to examine the scene more closely - asking ourselves what traits are being passed on to this innocent witness? The piece is framed in a simple white floater frame measuring 26 x 38 inches. John Hrehov Holiday End oil on canvas 24h x 36w in 60.96h x 91.44w cm JHR020 John Hrehov Education 1985 MFA-Painting, University of Illinois at Urbana-Champaign 1981 BFA-Painting, Cleveland Institute of Art, Cleveland, OH. Solo Exhibitions 2017 John Hrehov, Paintings and Drawings. Tom Thomas Gallery, Indiana University East, Richmond, IN. 2012 Shades from White to Black, New Drawings. Denise Bibro Fine Art, New York, NY. 2011 John Hrehov: Charcoal. Indiana University - Purdue University Fort Wayne. 2009 John Hrehov: A Survey 1999-2009 Denise Bibro Fine Art, New York, NY. Paintings and Drawings. Seerveld Gallery, Trinity Christian College, Palos Heights, IL. 2004 John Hrehov: Drawings and Paintings. Denise Bibro Fine Art, New York, NY. 2002 Paintings. Denise Bibro Fine Art, New York, NY. 2001 Charcoal. Indiana University - Purdue University Fort Wayne. John Hrehov, Paintings and Drawings. Wood Street Gallery, Chicago, IL. 2000 The Picture Proper. Denise Bibro Fine Art, New York, NY. Fearful Symmetry. Fort Wayne Museum of Art, Fort Wayne, IN. Allegories in Contemporary Life. Yvonne Rapp Gallery, Louisville, KY. 1999 Paintings and Working Drawings. Adams Hall Gallery, Wheaton College, Wheaton, IL. 1998 John Hrehov. Denise Bibro Fine Art, New York, NY. John Hrehov: Paintings and Drawings. Wood Street Gallery, Chicago, IL. 1997 Object Lesson, Paintings, and Drawings by John Hrehov. Yvonne Rapp Gallery, Louisville, KY. 1995 John Hrehov. Trinity Art Gallery, Trinity Christian College, Palos Heights, IL. 1993 John Hrehov: Selected Works 1980-1992 Indiana University - Purdue University Fort Wayne. Group Exhibitions 2019 2019 Alumni Exhibition. Reinberger Gallery at The Cleveland Institute of Art, Cleveland, OH. Out Of The Closet. Denise Bibro Fine Art, New York, NY. 1026 West Berry Street: The Fort Wayne Art School. Fort Wayne Museum of Art, Fort Wayne, IN. 2018 Artlink Regional Exhibition. Artlink Contemporary Art Gallery, Fort Wayne, IN. 2017 Sola Grace-Faith-Scripture: An Exhibition of Sacred Visual Art. Good Shepherd Institute at Concordia Theological Seminary, Fort Wayne, IN. Norman Bradley...

Robert Segal’s abstract sculpture offers a particularly fertile ground for experiments in shape, color, proportion, and technique. He steps away from non-traditional sculpting method...

A solitary figure, hat in hand, bows his head in contemplation of what has just taken place or what is about to take place. "Palm Sunday" 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 Palm Sunday, 2022 oil on linen 36h x 24w in 91.44h x 60.96w cm WIL033 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...

Caravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. 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 artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake 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...

Artists are often isolated, but long for an idealized golden era, “La Boheme”. Frequently an artist's closest encounter with “La Boheme” is nothing more than drinking at a bar...

The blond figure, along with the floating peonies, combine to explore the dynamic between the eternal and the temporal, as well as our own relationship with nature. The gold leaf adds a three-dimensional softness as well as a glow upon which the female figure floats. Her skin is seductively painted; her teal dress falls off her shoulder; white peonies float by; the scene is set for a dreamy visual feast. The painting is framed in a gilt frame. Michael Van Zeyl Peonies in White Light oil and 12K gold leaf on linen wrapped panel 24h x 36w in 60.96h x 91.44w cm EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

Also known as the Great Northern Railway disaster and Americas deadliest avalanche. After days of traveling west and passing through the 2.6 mile Cascade Tunnel, the GNR passenger train was trapped by snow at the tiny town of Wellington Washington in the Cascade Mountains. For 6 days the passengers survived on the train while railmen worked dauntlessly through continuous avalanches to clear the tracks ahead towards the next town. Fearful of the snow looming over them on the mountain above, the passengers were assured that they were safest where they were. The weather was severe and eventually an avalanche swept the GNR passenger train and a mail train off the tracks towards the river below, resulting in 96 deaths and 23 surviving injured. Eric Edward Esper Wellington, Washington Avalanche of March 1, 1910 oil on canvas 38h x 26w in 96.52h x 66.04w cm EEE018 Eric Edward Esper After obtaining my BFA in Illustration from Northern Michigan...

A group of uniformed soldiers gather in a grassy field. We see cannons yet must bring our own decisions about what is about to transpire. Painted in the loose style of Winslow Homer, "Union" by William Blake captures a scene in a Civil War Reenactment as the Union Army's Artist Reporter. Portraying Homer as an Artist-reporter, Blake has to be more than merely good draftsmen. He has to be an astute observer, have an instinct for story and drama, the ability to sketch quickly and accurately, and no small amount of daring, as he faces battles first hand. 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. Please contact the gallery for framing options. William Blake Union, 2022 oil on linen 24h x 36w in 60.96h x 91.44w cm WIL034 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...

In this serene landscape, Jeff Aeling uses golden browns in this wide open plane. The vast sapphire blue sky above is filled with fluffy, cumulus clouds adding to the overall tranquility of the piece. The painting is framed in a heavy wooden frame measuring 32.5 x 44.5 inches. Jeff Aeling North of Las Vegas, NM oil on panel 24h x 36w in 60.96h x 91.44w cm JAE026 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 2016 William Havu Gallery - Denver, CO 2015 Perimeter Gallery - Chicago, IL 2015 Sherry Leedy Contemporary Art - Kansas City, MO 2014 J Mark Sublette Gallery - Tucson, AZ 2014 Philip Slein Gallery - St. Louis, MO 2013 Perimeter Gallery - Chicago, IL 2013 Sherry Leedy Contemporary Art - Kansas City, MO 2012 Philip Slein Gallery - St. Louis, MO 2012 William Havu Gallery - Denver, CO 2011 Philip Slein Gallery - St. Louis, MO 2011 Sherry Leedy Contemporary Art - Kansas City, MO 2010 Perimeter Gallery - Chicago, IL 2010 Richard Demato Fine Arts Gallery - Sag Harbor, NY 2010 William Havu Gallery - Denver, CO 2009 J Mark Sublette Gallery - Tucson, AZ 2009 Sherry Leedy Contemporary Art - Kansas City, MO 2008 Perimeter Gallery - Chicago, IL 2008 William Havu Gallery - Denver, CO 2007 J Mark Sublette Gallery - Santa Fe, NM 2007 Philip Slein Gallery - St. Louis, MO 2007 Sherry Leedy Contemporary Art - Kansas City, MO 2006 Tory Folliard Gallery - Milwaukee, WI 2006 William Havu Gallery - Denver, CO 2005 Lisa Kurts Gallery - Memphis, TN 2005 Perimeter Gallery - Chicago, IL 2005 Philip Slein Gallery - St. Louis, MO 2005 Sherry Leedy Contemporary Art - Kansas City, MO 2004 J Mark Sublette Gallery - Santa Fe, NM 2004 William Havu Gallery - Denver, CO 2003 J Mark Sublette Gallery - Tucson, AZ 2003 Lisa Kurts Gallery - Memphis, TN 2003 Sherry Leedy Contemporary Art - Kansas City, MO 2002 J Mark Sublette Gallery - Santa Fe, NM 2002 Perimeter Gallery - Chicago, IL 2002 Perimeter Gallery - New York, NY 2001 J Mark Sublette Gallery - Tucson, AZ 2001 J Mark Sublette Gallery - Santa Fe, NM 2001 Sherry Leedy Contemporary Art - Kansas City, MO 2000 Charlene Cody Gallery - Santa Fe, NM 2000 Perimeter Gallery - Chicago, IL 2000 Sherry Leedy Contemporary Art - Kansas City, MO 1999 Charlene Cody Gallery - Santa Fe, NM 1999 Elliot Smith...

Two figures, cast in shadows, stand in the foreground between a nude female figure in the background. Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the mystery of this gathering of characters. This artwork is mounted to a wood cradle and can hang directly on the wall. Please contact the gallery for framing options. Georgia Hinaris...

A nude female reclines on her side as photographer Kirill Polevoy captures her beauty juxtaposed against the rugged Montana mountains. This large fo...

David Becker Adjust to Fit vine charcoal on paper 39.25h x 27.50w in 99.69h x 69.85w cm DB0025 David Becker Exhibitions 2017 Coming Attractions, Gallery Victor Armendariz, Cicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001  Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000  Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconson-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennesse – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser, Chicago, IL Michael John Hofer, Chicago, IL Drs. Mark & Helene Connolly, River Forest, IL Jamie Kalikow, New York, NY Dianne & Jim Blanco, Chicago, IL Denise Roberge, Palm Desert, CA Tish & Philip Messinger, Creskill, NJ Brian Wesphal & Michael McVicker, Chicago, IL Ralph Privoznik, Lafayette, IN Candice Groot, Evanston, IL Shomaker/Ruud Collection, Chicago, IL Braden Berkey and Robert Bartlett, Chicago, IL Bill and Karyn Silverstein, Highland Park, IL Steve Weitz, Lovettsville, VA Mary Allice Wimmer, Madison, WI Ann & Robert Avery...

Waiting - it is what we all have been doing during this tumultuous year. Artist Peter Lupkin is no different. In his work entitled "Portrait of William, April, 2020" a family membe...

Michael Van Zeyl Silverstone Yellow Jasmine oil on panel 40h x 40w in 101.60h x 101.60w cm MVZ005 ARTIST STATEMENT I'm currently working with figures and portraits and combine human forms with botanicals to explore our relationship with natural elements. Capturing the movement of the figure or an expression of a living soul presents endless possibilities and inspiration enabling me to blend with different themes. I've studied classical methods of oil painting with a focus on the 17th century Dutch Masters. The subjects I am drawn to are individuals with character, athletic figures and blooming floral arrangements with elegance and ethereal beauty. The reference for my work comes from my direct observation of natural day light in my north light studio illuminating and blanketing the form of my subjects. I am fascinated and challenged by the process of transforming a flat, blank canvas into the illusion of dimensional form, atmosphere and mood. That process is usually well thought out but sometimes painted direct and use intuition to complete my idea. Both of these methods present challenges but each way fills the void of the other and opens up the possibility of new visual ideas to meet my objective. BIOGRAPHY For Michael Van Zeyl, portraiture is much more than a one-sided translation of the artist’s point of view taking form in a subject. It’s an engaging visual dialogue that renders a soul in light, shadow and pigment, continuing the conversation for future generations to appreciate. While subtle observation and technical skill are only part of Michael’s gift, his experience has honed his craft to the highest standard. His talents were apparent by age seven and he spent subsequent decades mastering a wide range of painting techniques. In particular, 17th century Dutch and 19th century impressionist styles have resonated with him and surfaced in his own works. His formal training began at the American Academy of Art in Chicago, continuing on at Chicago’s Historic Palette & Chisel Academy and the Art Students League in New York, where he studied with the most accomplished artists who also paint directly from life under natural light. Michael is currently a faculty and board member at the Palette & Chisel and has been the club’s most popular instructor for several years. Michael’s work is already appreciated in many public and private collections, such as the United States District Court, University of Chicago, DePaul University School of Law, Chicago Theological Seminary and American Hotel Register. He has received awards from the Portrait Society of America, The Artists Guild, the Oil Painters of America and the 2014 recipient of the Dorothy Driehaus Mellin Fellowship for Midwestern Artists. EDUCATION 1987-1990 American Academy of Art, Chicago, IL 1999-2000 American Academy of Art, Chicago, IL - Life Drawing & Oil Painting Palette & Chisel Academy, Chicago, IL - Painting & Life Drawing Art Students League, New York, NY - Painting EXHIBITIONS 2017 “Anne Harris...

Early springtime is the subject of Jeff Aeling's photo-realistic painting entitled "Dogwoods". The tiny white flowers are just appearing on the dogwood trees as it emerges from winter's grip. Loose brush strokes and gentle dabs of paint evoke impressionist painting. The somber palette is broken with subtle white and pink flowers and a hopeful sky. The painting is framed in a heavy black frame measuring 45h x 33h inches. Jeff Aeling Red Bud oil on panel 24h x 15.50w in 60.96h x 39.37w cm 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 2016 William Havu Gallery - Denver, CO 2015 Perimeter Gallery - Chicago, IL 2015 Sherry Leedy Contemporary Art - Kansas City, MO 2014 J Mark Sublette Gallery - Tucson, AZ 2014 Philip Slein Gallery - St. Louis, MO 2013 Perimeter Gallery - Chicago, IL 2013 Sherry Leedy Contemporary Art - Kansas City, MO 2012 Philip Slein Gallery - St. Louis, MO 2012 William Havu Gallery - Denver, CO 2011 Philip Slein Gallery - St. Louis, MO 2011 Sherry Leedy Contemporary Art - Kansas City, MO 2010 Perimeter Gallery - Chicago, IL 2010 Richard Demato Fine Arts Gallery - Sag Harbor, NY 2010 William Havu Gallery - Denver, CO 2009 J Mark Sublette Gallery - Tucson, AZ 2009 Sherry Leedy Contemporary Art - Kansas City, MO 2008 Perimeter Gallery - Chicago, IL 2008 William Havu Gallery - Denver, CO 2007 J Mark Sublette Gallery - Santa Fe, NM 2007 Philip Slein Gallery - St. Louis, MO 2007 Sherry Leedy Contemporary Art - Kansas City, MO 2006 Tory Folliard Gallery - Milwaukee, WI 2006 William Havu Gallery - Denver, CO 2005 Lisa Kurts Gallery - Memphis, TN 2005 Perimeter Gallery - Chicago, IL 2005 Philip Slein Gallery - St. Louis, MO 2005 Sherry Leedy Contemporary Art - Kansas City, MO 2004 J Mark Sublette Gallery - Santa Fe, NM 2004 William Havu Gallery - Denver, CO 2003 J Mark Sublette Gallery - Tucson, AZ 2003 Lisa Kurts Gallery - Memphis, TN 2003 Sherry Leedy Contemporary Art - Kansas City, MO 2002 J Mark Sublette Gallery - Santa Fe, NM 2002 Perimeter Gallery - Chicago, IL 2002 Perimeter Gallery - New York, NY 2001 J Mark Sublette Gallery - Tucson, AZ 2001 J Mark Sublette Gallery - Santa Fe, NM 2001 Sherry Leedy Contemporary Art - Kansas City, MO 2000 Charlene Cody Gallery - Santa Fe, NM 2000 Perimeter Gallery - Chicago, IL 2000 Sherry Leedy Contemporary Art - Kansas City, MO 1999 Charlene Cody Gallery - Santa Fe, NM 1999 Elliot Smith Contemporary Art - St. Louis, MO 1999 Sherry Leedy Contemporary Art - Kansas City, MO 1998 Charlene Cody Gallery - Santa Fe, NM 1998 Elliot Smith Contemporary Art - St. Louis, MO 1998 Leedy-Voulkos Art Center Gallery - Kansas City, MO 1998 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 2004 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 2004 FADA - Los Angeles, CA 2004 "5 Views of the Midwest" Traveling Museum Show 2003 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 2003 FADA - Los Angeles, CA 2002 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 2002 "Exhibition of Works from Permanent Collection," Daum Museum - Sedalia, MO 2002 FADA - Los Angeles, CA 2002 "Winter in Tucson," Medicine Man Gallery - Santa Fe, NM 2001 Los Angeles Art and Antique Show 2001 Medicine Man Gallery - Santa Fe, NM 2001 FADA - Los Angeles, CA 2001 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 2000 Art San Francisco - San Francisco, CA 2000 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 2000 FADA - Los Angeles, CA 2000 "Landscape," Des Lee Gallery, Washington University - St. Louis, MO 2000 "Landscape," Tory Folliard Gallery, Milwaukee, WI 1999 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 1998 "Going Places," Elliot Smith Contemporary Art - St. Louis, MO 1998 "Summer," Sherry Leedy Contemporary Art - St. Louis, MO 1998 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 1998 "Air, Land and Sea," Elliot Smith Contemporary Art - St. Louis, MO 1997 Art Chicago, Navy Pier, Perimeter - Chicago, IL and New York, NY 1997 "Summer Show," Elliot Smith Contemporary Art - St. Louis, MO 1994 Summer Invitational, Sean Kelly Gallery - Kansas City, MO Collections 4 Point Energy American Century Investments Art Embassies Program - Zimbabwe Biltmore Hotel - Phoenix, AZ Capri Capital - Chicago, IL Charles Schwab - Denver, CO D.S.T. Systems Daniel Taylor and Associates Exeter Oil Corporation Federal Reserve Bank - Denver, CO Federal Reserve Bank - St. Louis, MO Federal Reserve Bank -Kansas City, MO First Western Trust Bank Gates Rubber Company Grand Hyatt Denver Convention Center H&R Block Hall-Marshall Collection, Hallmark Hall-Silva Collection, Hallmark Johnson County Community College Johnson National Bank - Racine, WI Kansas City Art Institute Kansas State University Madison Dearborn Partners National Association of College Business Offices Renaissance Grand Hotel - St. Louis, MO Sprint St. Regis Hotel - Los Angeles, CA Wilmington Trust Company Museum Collections Beach Museum - Manhattan, KS Daum Museum - Sedalia, MO Denver Art Museum - Denver, CO Museum of the West - Tucson, AZ Nerman Museum of Contemporary Art - Overland Park, KS Tucson Museum of Art - Tucson, AZ Selected Bibliography 2015 Jul Westword - Denver, CO 2015 Oct Crossroads Art District 2014 Dec Western Art Collector 2014 Sep Riverfront Times - St. Louis, MO 2014 Sep St. Louis Magazine 2013 Jan Southwest Art 2013 Sep Huffington Post 2012 Sep Dan's Papers - Southampton, NY 2011 Riverfront Times - St. Louis, MO 2010 Sep American Art Collector Cover 2008 Jul Western Art Collector 2008 Sep New City Art - Chicago, IL 2006 Oct American Art Collector 2005 Sep Chicago Tribune 2003 Jul-Aug Frontier Magazine 2003 Review Magazine 2002 Aug Southwest Art 2002 Sep Artsope 2002 Chicago Tribune 2001 Feb Southwest Art 2000 Jan St. Louis Post...

Art Shay's true love was street photography. It is evidently clear in this shot entitled "The Three, Maybe Four, Ages of Women" with the young mannequin bride, the middle aged women...

The Redpath Mansion was built in 1886 for members of the Redpath family – wealthy industrialists who constructed the Lachine Canal and founded the sugar refinery that bears their name. This majestic house was erected in the fabled Golden Square Mile of Montreal. By the mid-20th century, it was one of the few remaining Queen Anne style homes in this city. The Sochaczevski family, purchased it in 1986 and within that year, obtained a license to demolish the building. Approximately 40% of the property was leveled. Organizations such as Heritage Montreal and Save Montreal obtained an injunction to suspend the execution of the license and the destruction of the mansion. It was temporarily saved. In 2014, the Mayor of Montreal, Denis Coderre, sided in favour of the Sochaczevski family, granting them the license to level the Redpath Mansion. In a statement to the media, when substantiating his reasoning, Denis Coderre said, “It was too dangerous, so I asked that we demolish the building.” The disappearance of the Redpath Mansion represented a great loss to Montreal’s architectural landscape. Organizations such as Heritage Montreal and Save Montreal, contended that it possessed immense cultural value; and during the course of almost three decades – 1986 to 2014 - struggled to save this rare Queen Anne style home from the wrecking ball. Albeit, the Sochaczevski family argued that it was old and unsafe, and that a restoration of the once stately home would be very costly. During the span marked by the first attempt at a demolition and the final decision by the mayor of Montreal (i.e. 1986 – 2014), The Redpath Mansion’s already dire condition worsened. It stood vacant and exposed to the elements. Nothing to upkeep the house was implemented, neither by the owners, or the city of Montreal; which ultimately compromised its structural viability. The events surrounding the Redpath Mansion, came to my attention in the summer of 2010. It was during a visit to Mount Sinai Hospital, in Montreal, where my father lay stricken by a terminal disease known as pulmonary fibrosis. I came upon a newspaper article in the Montreal Gazette. It described the Redpath Mansion case. I likened the decaying building with the final stages of my father’s life. The Redpath Mansion gained even greater significance for me when I went in person to the Golden Square Mile - in the city centre – and stood before it along Du Musée Street. I experienced it as a powerful metaphor for the transient nature of life. It also inspired thoughts related to generational ties, and how familial bonds act to influence and shape a person’s identity. The program of work I plan to undertake aims at building a scale model of the Redpath Mansion, as it appeared just before its demolition, in 2014. The physical height of this scale model is set at approximately 1 metre. I wish to place emphasis on the craft aspect, by creating a visual idiom based on details and decaying forms that allude to our connection to the past. For example, old pictures found among the rubble, scattered clothing and shoes, all of which are suggestive of a past ethos. I steer clear of political and social issues and aim to view this project with a more poetic lens, hoping to move the focus from societal problems to problems we face inside ourselves. The end result, or the finished piece would make a statement in a more introspective and emotional way, and show that the past weighs on the present, almost to the point of haunting. The viewer of the finished scale model will view it in the round, and in so doing perceive a definite narrative that addresses questions of identity, memory and loss. Ivan Markovic The Redpath Mansion, 2019 mixed media 37h x 20w x 24d in 93.98h x 50.80w x 60.96d cm IVM007 IVAN MARKOVIC was born in Montreal, Quebec in 1970. At an early age, he showed a natural propensity for drawing. At 15 years of age, he went to Paris, France to attend the Fine Arts school Creatione et Future. This experience allowed him to become a better draftsman and encouraged him to take his first steps in the art of oil painting. In 1994, he received a Bachelor of Fine Arts degree from Concordia University in Montreal. During his undergraduate degree he developed an interest for Art History and life drawing. After graduation, Ivan Markovic moved to Madrid, Spain to work at the Prado museum, where he made copies of Old Masters’ paintings, and developed an understanding for the materials and techniques of Spanish, Italian and Flemish art. He received a Master of Fine Arts degree from Bretton Hall College, University of Leeds, in the U.K. in 1997. His graduate work focused on large-scale paintings that alluded to baroque and neoclassical painting. In parallel, he pursued his other passion, teaching, by instructing a figure drawing course. Upon completing his MFA, he returned to Madrid to work as a practicing artist and art teacher for 13 years. During this time, he experimented with a diverse range of media. Of these, he was most captivated by sculpture. In 2010, he came back to his native Montreal, thus completing a formative cycle that has lasted 25 years. Currently, Ivan Markovic lives and works between Montreal, Chicago, and Madrid. He creates three-dimensional renditions of people facing situations of adversity, especially those that live on the fringe of society. His work has been featured in solo exhibitions in Canada, the United States and Europe, and is also on permanent display in privately owned collections of art. Ivan Markovic b. 1970, Montreal, Quebec Education 1997 Master of Fine Arts, Bretton Hall College, University of Leeds, England. 1994 Bachelor of Fine Arts, Concordia University, Montreal, Canada. 1986 Studies at the Fine Arts School, Création et Future, Paris, France. Selected Exhibitions 2020 Double Feature: Art Shay and Ivan Markovic, 2019, Gallery Victor Armendariz, Chicago, IL 2019 SOFA Chicago 2019, Navy Pier, Gallery Victor Armendariz, Chicago, IL 2018 SOFA Chicago 2018, Navy Pier, Gallery Victor Armendariz, Chicago, IL Art Market Hamptons, Gallery Victor Armendariz, Bridgehampton, NY Art On Paper, Gallery Victor Armendariz, New York, NY 2017 Art Toronto, Galerie D’Este, Toronto, Canada. SOFA Chicago, Navy Pier, Option Art, Chicago, IL Papier/10th Edition, Contemporary Art Fair of Works on Paper, Galerie D’Este, Mlt., Canada. 2016 SOFA Chicago, Navy Pier, Option Art, Chicago, U.S.A. 2016 Toronto International Art Fair, Galerie D’Este, Toronto, Canada. 2016 Beyond the Pale, Galerie D’Este, Montreal, Canada. 2014 On the Fringe, Galerie D’Este, Montreal, Canada. Love Art, Galerie D’Este, Toronto, Canada. Papier 14, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada. 2013 Shades of Isolation, Galerie D’Este, Montreal, Canada. 2013 Toronto International Art Fair, Galerie D’Este, Toronto, Canada. Papier 13, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada. 2012 Papier 12, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada. 2011 Papier 11, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada 2004 Galería Francisco Duayer, Madrid, Spain. 2004 Fundación Cultural Mapfre Vida (Premio Penagos de Dibujo), Madrid, Spain. 2003 Centro Intergrado Arganzuela (Ayuntamento de Madrid), Madrid, Spain. 2003 Galería Francisco Duayer, Madrid, Spain. 2001 Galería Francisco Duayer, Madrid, Spain. 2000 Sala Goya, Círculo de Bellas Artes, Madrid, Spain. 1998 Instituto Cervantes, John Hancock Center...

The photographer walks cities with his Leica camera capturing unexpected moments. His brand of street photography is sometimes poignant and sometimes hum...

A woman floats in a pool with her dark hair trailing behind her. Her dark cat shaped sunglasses and checked bathing suit are reminiscent of a bygone era. This photograph is unframed. Please contact the gallery for framing options. Kirill Polevoy Floating Sasha, Montana archival pigment print 30h x 40w in 76.20h x 101.60w cm 1/25 KIP037 “Through a black and white lens, hidden stories of everyday objects become apparent. The juxtaposition of strong light and dark shadows transform and illuminate detail that would otherwise be dismissed. Diminutive elements become rich in meaning allowing compositions to effortlessly evolve. As I attempt to uncover the hidden truth of the world around me, I am inevitably mesmerized by it and I hope you will be too.” A self-taught photographer, Kirill Polevoy, first started making photographs with an old Russian film camera...

The piece is based in the narrative poem Paradise Lost, written by John Milton in 1667. The author does a self-interpretation of Adam and Eve’s original sin and their later exile fro...

David Becker Exhibitions 2017 Coming Attractions, Gallery Victor Armendariz, Cicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001  Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000  Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconson-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennesse – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser, Chicago, IL Michael John Hofer, Chicago, IL Drs. Mark & Helene Connolly, River Forest, IL Jamie Kalikow, New York, NY Dianne & Jim Blanco, Chicago, IL Denise Roberge, Palm Desert, CA Tish & Philip Messinger, Creskill, NJ Brian Wesphal & Michael McVicker, Chicago, IL Ralph Privoznik, Lafayette, IN Candice Groot, Evanston, IL Shomaker/Ruud Collection, Chicago, IL Braden Berkey and Robert Bartlett, Chicago, IL Bill and Karyn Silverstein, Highland Park, IL Steve Weitz, Lovettsville, VA Mary Allice Wimmer, Madison, WI Ann & Robert Avery...

Facial expressions are used to convey information from one person to another. Here the viewer has a sense of how the artist feels about celebrating his 80th birthday. A master with vine charcoal, David Becker uses it with precision. With a rich range of value and strong darks, Becker captures his own fine details with exacting clarity. This piece is floated and framed with a simple wooden frame. David Becker Self Portrait at 80 vine charcoal on paper 35.75h x 25w in 90.81h x 63.50w cm DB0031 David Becker Exhibitions 2017 Figure8, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001  Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000  Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconson-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennesse – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser, Chicago, IL Michael John Hofer, Chicago, IL Drs. Mark & Helene Connolly, River Forest, IL Jamie Kalikow, New York, NY Dianne & Jim Blanco, Chicago, IL Denise Roberge, Palm Desert, CA Tish & Philip Messinger, Creskill, NJ Brian Wesphal & Michael McVicker, Chicago, IL Ralph Privoznik, Lafayette, IN Candice Groot, Evanston, IL Shomaker/Ruud Collection, Chicago, IL Braden Berkey and Robert Bartlett, Chicago, IL Bill and Karyn Silverstein, Highland Park, IL Steve Weitz, Lovettsville, VA Mary Allice Wimmer, Madison, WI Ann & Robert Avery...

“Through a black and white lens, hidden stories of everyday objects become apparent. The juxtaposition of strong light and dark shadows transform and illuminate detail that would otherwise be dismissed. Diminutive elements become rich in meaning allowing compositions to effortlessly evolve. As I attempt to uncover the hidden truth of the world around me, I am inevitably mesmerized by it and I hope you will be too.” A self-taught photographer, Kirill Polevoy, first started making photographs with an old Russian film camera...

After 100 years of brutal history at the Ohio State Penitentiary, the botched escape attempt of 3 prisoners caused the deaths of 322 men. On April 21, 1930, a crude wick did not start a planned (by the 3 escapees) fire in 2 empty cellblocks under construction until after 5:00 p.m. when all the prisoners were locked in their cells. At 5:53 p.m., all electrical power went out and the phones went dead. By 6:00 p.m., the roof was engulfed in flames that soon spread to the occupied cellblocks where men were burned alive while locked in their cells. The roof then collapsed, crushing the trapped prisoners. The Ohio militia and guardsmen were called to control the prisoners, but the local fire department was not called until it was too late to control the fire, which blazed until 7:30 p.m. There were many accounts of the heroic efforts of the prison guards, and prisoners alike, who risked their lives attempting to save others. But, unfortunately, in a structure designed to imprison men like this, rescue was difficult. Eric Edward Esper The Ohio State Penitentiary Fire of 1930, 2018 oil on canvas 26h x 34w in 66.04h x 86.36w cm FRAMED DIMENSIONS 30.50h x 38w in EEE009 Eric Edward Esper After obtaining my BFA in Illustration from Northern Michigan University in 1996 I relocated to Chicago to pursue my artistic endeavors. Here, I began exclusively oil painting and have assembled a body of paintings chronicling scenes of Chicago done primarily in plein air. Capturing parts of the city’s landscape during its cultural evolution had been my way of conveying history as a painter. My fascination with landscapes and history has led me to create oil paintings of scenes that have affected us in dramatic ways. Recently I have begun painting aerial views of locations that have interesting historical significance, encapsulating true stories that are hard to imagine and harder to forget. My latest paintings capture these places and depict them with historically accurate attention to detail. Using various sources I recreate these scenes with as many photographs of every angle of the incident and research the stories, submersing myself in the event. My newest body of paintings depicts events with a more historically tragic significance, depicting scenes of the darkest hours in America’s Midwest history, where the landscape became the backdrop for tragedy and calamity. These events that irrevocably altered so many lives are important to remember, not only for the people lost and how it affected our culture, but also to remind us that disaster can occur at any time, anywhere. Eric Edward Esper EDUCATION 1995 BFA, Illustration, Northern Michigan University, Marquette, Michigan SELECT EXHIBITIONS 2013 Chicago Catastrophes, Conflagrations, and Calamities, Solo show, Linda Warren Projects, Chicago, Illinois 2012 Group show, Metropolitan Capital Bank, Chicago, Illinois 2012 Ten year anniversary show, Sulzen Fine Art Studio, Chicago, Illinois 2010 Group show, Concordia University, River forest, Illinois 2009 Holiday Show, Sulzen Fine Art Studio, Chicago, Illinois 2008 Somewhere, Elsewhere, Group show, Linda Warren Gallery, Chicago, Illinois 2008 Scene in Chicago, Group show, Judy Saslow Gallery, Chicago, Illinois 2007 Holiday Show, Sulzen Fine Art Studio, Chicago, Illinois 2007 Cityscapes, Solo Exhibition, Oculus Gallery, Chicago, Illinois 2006 Solo exhibition, Meztli Gallery, Chicago, Illinois 2005 Around the Coyote 2005, Biannual Art Festival, Chicago, Illinois 2004 Chicago Art Open 2004, Chicago Artists' Coalition annual exhibit. Chicago, Illinois 2004 Chicago Images, Group show, Frederick Baker Inc. Chicago, Illinois 2004 Around the Coyote Winter Festival, Curator's Choice Show, Biannual art festival, Chicago, Illinois 2003 Landscape Unlimited, Group show, Fine Arts Building Gallery, Chicago, Illinois 2002 Chicago Art Open 2002, Chicago Artists' Coalition annual exhibit, Chicago, Illinois 1998 Shoe Show, Group show, Ariana Gallery, Royal Oak, Michigan 1998 Art and Design Alumni Exhibit, Lee Hall...

The dramatic, rich markings left by charcoal appear in the earliest primitive cave painting of early humans, which are believed to have been drawn with the charcoal created from burnt sticks. Of the various kinds of charcoal available today, David Becker often chooses vine charcoal which provides a smooth, softer line. Able to produce lines with either a subtle or strong quality, charcoal is wildly versatile, allowing Becker to approach texture, shading and tone with ease. He is able to capture both gestures and emotions with an intuitive mixture of the soft and the dark. David Becker Reflection #1 charcoal on paper 36h x 25w in 91.44h x 63.50w cm DB0009 David Becker Exhibitions 2017 Figure8, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Cicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001  Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000  Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconson-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennesse – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser, Chicago, IL Michael John Hofer, Chicago, IL Drs. Mark & Helene Connolly, River Forest, IL Jamie Kalikow, New York, NY Dianne & Jim Blanco, Chicago, IL Denise Roberge, Palm Desert, CA Tish & Philip Messinger, Creskill, NJ Brian Wesphal & Michael McVicker, Chicago, IL Ralph Privoznik, Lafayette, IN Candice Groot, Evanston, IL Shomaker/Ruud Collection, Chicago, IL Braden Berkey and Robert Bartlett, Chicago, IL Bill and Karyn Silverstein, Highland Park, IL Steve Weitz, Lovettsville, VA Mary Allice Wimmer, Madison, WI Ann & Robert Avery...

-ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...

An etching is an intaglio printmaking process in which lines or areas are incised using acid into a metal plate in order to hold the ink. In etching, the plate can be made of iron, copper, or zinc. Once etched, the plate is then printed onto paper. David Becker Light Rail...

Human facial expressions help convey our stories from one person to another. However, David Becker presents this charcoal drawing with a flair for confusion. Throughout his career,...

The Firestorm of Peshtigo October 8 1871, the same night of the Great Fire of Chicago, and The Michigan forest fires. A cold front moved in from the west fanning land clearance fires...

The Great Cyclone of St. Louis On Wednesday, May 27, 1896, shortly after 5 p.m., there occurred a major outbreak of tornadoes across the central and eastern U.S., lasting two days. A funnel cloud destroyed a path one mile-wide and ten miles long through America’s 4th largest city. In 20 minutes, “the Cyclone” killed an estimated 255 people, left thousands homeless, and caused over 10 million dollars-worth of damage across St. Louis and East St. Louis. To this day, it remains the deadliest incident in the city’s history. Eric Edward Esper After obtaining my BFA in Illustration from Northern Michigan University in 1996 I relocated to Chicago to pursue my artistic endeavors. Here, I began exclusively oil painting and have assembled a body of paintings chronicling scenes of Chicago done primarily in plein air. Capturing parts of the city’s landscape during its cultural evolution had been my way of conveying history as a painter. My fascination with landscapes and history has led me to create oil paintings of scenes that have affected us in dramatic ways. Recently I have begun painting aerial views of locations that have interesting historical significance, encapsulating true stories that are hard to imagine and harder to forget. My latest paintings capture these places and depict them with historically accurate attention to detail. Using various sources I recreate these scenes with as many photographs of every angle of the incident and research the stories, submersing myself in the event. My newest body of paintings depicts events with a more historically tragic significance, depicting scenes of the darkest hours in America’s Midwest history, where the landscape became the backdrop for tragedy and calamity. These events that irrevocably altered so many lives are important to remember, not only for the people lost and how it affected our culture, but also to remind us that disaster can occur at any time, anywhere. Eric Edward Esper EDUCATION 1995 BFA, Illustration, Northern Michigan University, Marquette, Michigan SELECT EXHIBITIONS 2013 Chicago Catastrophes, Conflagrations, and Calamities, Solo show, Linda Warren Projects, Chicago, Illinois 2012 Group show, Metropolitan Capital Bank, Chicago, Illinois 2012 Ten year anniversary show, Sulzen Fine Art Studio, Chicago, Illinois 2010 Group show, Concordia University, River forest, Illinois 2009 Holiday Show, Sulzen Fine Art Studio, Chicago, Illinois 2008 Somewhere, Elsewhere, Group show, Linda Warren Gallery, Chicago, Illinois 2008 Scene in Chicago, Group show, Judy Saslow Gallery, Chicago, Illinois 2007 Holiday Show, Sulzen Fine Art Studio, Chicago, Illinois 2007 Cityscapes, Solo Exhibition, Oculus Gallery...

David Becker Scorn charcoal on paper 40h x 30w in 101.60h x 76.20w cm DB0011 David Becker b. 1937 David H. Becker, painter, printmaker and educator, was born on August 16, 1937 in M...