Phoenix - Art

charcoal and pearl paint on paper 27 x 25 x 1.5 inches framed In the fields of sculpture and drawing, George Thiewes creates sharp, angular work with a focus on the interaction of ...

acrylic on panel Influenced by his background in architecture, his work incorporates 3D modeling to create complex hard edge compositions that give an illusion of space through bot...

charcoal on paper, mounted on curved wood Mark Pomilio’s work focuses on the research of fractals, cloning, and single cell manipulation. His mathematics-based drawings serve as ...

mixed media on paper; unframed full sheet 22.5 x 30.25 inches signed, dated and titled on lower right Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint ...

oil and wax on canvas 1927 - 2017 Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school sh...

acrylic, LED lamps, transformer, aluminum edition 1 of 3 For over thirty years Dominique Blain has examined and addressed the links between relationships of domination, such as ra...

mixed media on paper; unframed full sheet 22.5 x 30.25 inches signed, dated and titled on lower right Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint ...

oil on paper In his abstract paintings and prints, Daniel Brice explores both the physicality and the intellectual and emotional resonance of color. Based in sun-drenched southern ...

oil on paper In his abstract paintings and prints, Daniel Brice explores both the physicality and the intellectual and emotional resonance of color. Based in sun-drenched southern ...

eyelets, fabric, thread on wood Denise Yaghmourian’s material based sensibility results in works that reference Feminism, Minimalism, Post-Minimalism, the Pattern and Decoration mo...

mixed media on paper; unframed full sheet 22.75 x 30.25 inches signed, dated and titled on lower right Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint...

eyelets, fabric, thread on wood Denise Yaghmourian’s material based sensibility results in works that reference Feminism, Minimalism, Post-Minimalism, the Pattern and Decoration mo...

oil and gold leaf on porcelain tile Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated with flashes of li...

oil and acrylic on linen over stretcher bars In his abstract paintings and prints, Daniel Brice explores both the physicality and the intellectual and emotional resonance of color. ...

oil and gold leaf on porcelain tile Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated with flashes of li...

oil and gold leaf on porcelain tile Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated with flashes of li...

eyelets, fabric, thread on wood Denise Yaghmourian’s material based sensibility results in works that reference Feminism, Minimalism, Post-Minimalism, the Pattern and Decoration mov...

accumulated smoke (carbon pigment) on paper 10 x 10 inches; image size / 21.25 x 17.25 x 1.25 inches; framed Bryan David Griffith's work explores the idea that dualities—light and...

oil on canvas Mark Pomilio’s work focuses on the research of fractals, cloning, and single cell manipulation. His mathematics-based drawings serve as a metaphor for naturally occurr...

turned jarrah wood

acrylic on canvas Alonso Mateo combines broad chromatic spaces with the narrow figures. This atmosphere at first glance can be an abstract painting or a bedroom wallpaper...

mixed media on paper; unframed full sheet size 22 x 30 inches; signed lower right corner Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysteri...

mixed media on paper; unframed full sheet size is 22 x 30 inches; signed lower right corner Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create myst...

inkjet on paper edition 4 of 15 For over thirty years Dominique Blain has examined and addressed the links between relationships of domination, such as racism, mass indoctrinatio...

watercolor on Arches, framed Throughout Mala Breuer’s career she completed well over 400 watercolors and works on paper that preceded each and every one of her large works on canv...

watercolor on Arches, framed Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she att...

oil and wax on canvas Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended ...

inkjet print on paper, framed edition 7 of 10 For over thirty years Dominique Blain has examined and addressed the links between relationships of domination, such as racism, mass...

Lon Megargee 1883-1960 "The Sheepherder" Wood block print Signed in plate, lower right Image size: 10 x 10 inches Frame size 22 x 22 inches Creator of Stetson's hat logo "Last Drop from his Hat" Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew Davis...

DAN BUDNIK (American, b. 1933-2020 David Smith with Voltr1-Bolton XV, Terminal Iron Works, Bolton Landing, N. Y. 1963 Vintage Print on Afga Paper, Silver gelatin, March 1963, printed 1992 by Igor Bakht Paper: 24 x 20 inches Image: 16.38 x 13 inches Recto: signed in black ink in artist's hand Verso: titled, dated, signed in graphite in artist's hand, printer information in graphite State: unmounted. Dan Budnik 1933-2020 As a photojournalist, Dan Budnik is known for his photographs of artists, but also for his photo-documentation of the Civil Rights Movement and of Native Americans. Born in 1933 in Long Island, New York, Budnik studied with Charles Alston at the Art Students League of New York (1951-53) and began his photography career as Philippe Halsman’s assistant. Working at Magnum Photos (1957-64) in 1963, Budnik persuaded Life Magazine to have him create a long-term photo essay showing the seriousness of the Civil Rights Movement, documenting the Selma to Montgomery march and other historical Civil Rights moments. Budnik went on to photograph for premier publications such as Life, Fortune, Look, Newsweek, Sports Illustrated and Vogue. He has been a major contributor to eight Time-Life Wilderness and Great Cities series and received a 1973 grant from the National Endowment for the Arts for his work on the Hudson River Ecology Project and a 1980 grant from the Polaroid Foundation for Big Mountain: Hopi-Navajo Forced Relocation. Biography Pastaza, Ecuador, December 2004 Photo by Kresta King Cuther Pastaza, Ecuador, December 2004 Photo by Kresta King Cuther Dan Budnik, (b. 1933-died 2020), whose career as a photographer has spanned more than half a century, was most recent recipient, in 1998, of the prestigious American Society of Media Photographers Honor Roll Award, an accolade previously accorded to such eminent photographers as Man Ray, Edward Steichen, Walker Evans, Dorothea Lange, André Kertész, Ernst Hass...

Mark Pomilio is a visual artist using the traditional mediums of charcoal and oil paint on a variety of traditional and non-traditional supports. His MFA is from the University of Mi...

b. 1979, Poole, Dorset, UK Danielle Hacche was born in Poole, Dorset in the Southwest of the United Kingdom. After moving to the United States with her family in 1993, Hacche attend...

silver gelatin print Petah Coyne (born 1953) is a contemporary American sculptor and photographer best known for her large and small scale hanging sculptu...

Mark Pomilio’s current research has focused on creating images, which embody principles of geometry, fractals, cloning and single-cell manipulation. These interests have led to invit...

Focusing on painting as a space of exploration, Raphaëlle Goethals has worked with wax, resin, and pigments as her signature medium for over twenty years. She established her vocabul...

Jim Waid creates abstract worlds saturated with color, layered with mark, filled with rhythm and movement, and intricately textured. His canvases barely contain the landscape painted...

silver deposit and acrylic on canvas b. 1961 The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with ...

silver deposit and acrylic on canvas b. 1961 The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with ...

silver deposit and acrylic on canvas b. 1961 The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with ...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

"The paintings are a meditation on my youth growing up in and around Cincinnati Ohio. This group of paintings reflects a journey back in time. A boy walking the furrowed fields of th...

b. 1975, Bellaire, OH Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. Gradient color field...

acrylic on canvas b. 1975, Bellaire, OH Dion Johnson’s paintings combine and explore dynamic opposites: expansiveness and compression, surface and depth, and darkness and light. G...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of inflation." It is the pragmatic that draws Thomas. Asked about his influences he asserts that his primary influences do not come from the realm of art but rather from everyday living. “I don’t eat, sleep, and breathe art,” he comments. His discovery of metal-working arose in a similar, practical way. Thomas had been sculpting with stone and asked someone to show him how to forge his own chisel. This was the start of his exploration of forging techniques and after a time he gave up working with stone to work with metal. One of the key aspects of blacksmithing that intrigued Thomas was fact that it isn’t instantly gratifying, and it poses questions that aren’t easily solved. He interned with Tom Joyce...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

"These inflated objects are grown more than fabricated. Through the process of inflation, the application of the air to the geometric construction defines form at the moment of infla...

acrylic on linen over panel Influenced by his background in architecture, his work incorporates 3D modeling to create complex hard edge compositions that give an illusion of space t...

Willaim Hesthal California artist original watercolor. Surreal and whimsical circus scene with clowns. Signed lower right “Hesthal” and dated ‘39. Sheet measures 16" H x 23' W. Excel...

b. Melbourne, Australia Louise Blyton is a reductive artist exploring the romance of raw linen and dry pigment. The artist’s geometrically shaped canvases explore color, light, and form through the visual language of Reductivism, an aesthetic style characterized by streamlined compositions, restricted color, and a reduction of form and means. Identifying with Reductivism’s simplicity, Blyton’s shaped canvases and three-dimensional wall sculptures elevate craftsmanship and process, achieving a compositional clarity that unifies color and form. To construct her works, Blyton covers custom built balsa wood stretchers with raw linen, adorning them with layers of pure pigment or acrylic paint. Each pigment reacts differently to raw linen and requires a specific number of coats to reach the artist’s desired level of saturation. As the artist explains, “I’m always looking for a kind of quietness and harmony when making my works even if the color being used is loud.” The artist creates her own spatial dimension by manipulating the shape of the canvas, which escapes from the flat surface of the wall, confusing its role as a painting. “Rather than responding to the architecture they ask particular attributes of the building to act as support,” as some works appear to climb the surface of the walls, while others straddle columns and corners. Louise Blyton lives and works in Melbourne, Australia. She graduated with a Bachelor of Fine Art at RMIT University, Melbourne, Australia in 1988. Her works are held in significant corporate and private collections in Australia, China, France, United Kingdom, Portugal, and the United States. Since 2000, Blyton has run an artist supply store called, St. Luke Artist Colourman, which specializes in professional paint and raw materials, with her husband David Coles.