CHRIS MCGINNIS: Fragments no. 20
Chris McGinnis grew up in southwestern Pennsylvania during the waning years of America's post-war industrial paradigm. Shortly after his birth the steel mills closed and the coal industry consolidated. This region braced for an economic winter from which many communities have yet to emerge. As both artist and curator, McGinnis' research continually returns to notions of growth and decline relating to technology and the human experience. Projects inspired by this research chronicle the pursuit of progress and its effect on all facets of society, ranging from industry and community to science and entertainment. Iconography representing the abundance and promise of industrial modernism is reminiscent of a time when American optimism was specifically manifested in large-scale construction and the built environment.
$500.00
CHRIS MCGINNIS: Fragments no. 21
Chris McGinnis grew up in southwestern Pennsylvania during the waning years of America's post-war industrial paradigm. Shortly after his birth the steel mills closed and the coal industry consolidated. This region braced for an economic winter from which many communities have yet to emerge. As both artist and curator, McGinnis' research continually returns to notions of growth and decline relating to technology and the human experience. Projects inspired by this research chronicle the pursuit of progress and its effect on all facets of society, ranging from industry and community to science and entertainment. Iconography representing the abundance and promise of industrial modernism is reminiscent of a time when American optimism was specifically manifested in large-scale construction and the built environment.
$500.00
CHRIS MCGINNIS: Fragments no. 22
Chris McGinnis grew up in southwestern Pennsylvania during the waning years of America's post-war industrial paradigm. Shortly after his birth the steel mills closed and the coal industry consolidated. This region braced for an economic winter from which many communities have yet to emerge. As both artist and curator, McGinnis' research continually returns to notions of growth and decline relating to technology and the human experience. Projects inspired by this research chronicle the pursuit of progress and its effect on all facets of society, ranging from industry and community to science and entertainment. Iconography representing the abundance and promise of industrial modernism is reminiscent of a time when American optimism was specifically manifested in large-scale construction and the built environment.
$500.00
Black and White No. 84
"I enjoy painting in black an white because it its the most extreme of contrast. I am not a tonal painter and I feel that one color can make a contrasting color that much more beautiful. Black and white may just be the best two colors as they allow all the other colors of the room to shine. It is the most neutral of color combo's and can help with layering in homes, the paintings will balance any other art in the room, regardless of the color scheme or the design plan. They are the Switzerland of paint colors. Sometimes my eyes need a retrieve from color and so I move on to painting in black and white. I usually paint abstracts although I am exploring black and white flowers and a black Drippy Heart, which is just as happy and beautiful as my yellow ones 😉 ". - Kerri Rosenthal, August 2104
Softly Now
There are moments in our lives when we experience awakenings - moments when we know more than we knew a moment before. One of the things we may know is that we are one with the universe - that the ebb and flow of need and abundance in our lives represents our seasons, just as clearly as the first sprout of grass in spring or last amber leaf in autumn signify the cyclical and ever-changing path of nature.This realization is what inspires my work. Painting, for me, is not only a form of expression, but also one of transformation. It is through this journey to the core of creativity that I discover my own.
something in the snow
Oil on canvas, 2014, 80 X 70 cm. "I found a dimpled spider, fat and white, On a white heal-all, holding up a moth Like a white piece of rigid satin cloth - Assorted characters of death and blight Mixed ready to begin the morning right, Like the ingredients of a witches' broth - A snow-drop spider, a flower like a froth, And dead wings carried like a paper kite. What had that flower to do with being white, The wayside blue and innocent heal-all? What brought the kindred spider to that height, Then steered the white moth thither in the night? What but design of darkness to appall? - - If design govern in a thing so small." Design, by Robert Frost. 1922.
$1,530.00
10×15 in. Alex Kain Crease
C-Print work by Alex Kain, Edition 1-200 of 200, 10x15 in.
This artwork comes with free shipping.
$125.00
Fred McFeely “Mr. Rogers”, Pittsburgh, 1990
Available in 2 sizes:
12x18 (17x22 Total Paper Size) = $2,350
9x13 (11x17 Total Paper Size) = $1,500 Unframed
Free Shipping
$2,350.00
Oranges, Box and Painting on Door
John Chervinsky is fascinated by the scientific principles that govern our existence - in this case the concept of time. Oranges, Box and Painting on Door is from the series Studio Physics in which Chervinsky sets up his still life, photographs it, and crops a subset image which is then sent to a painting factory in China and painted by an anonymous artist. The painting is mailed back to the Chervinsky, who reinserts it into the original still life and re-photographs it. The final image shows the painting and the still life which has remained untouched during this experiment and documents the marking of time. Next available edition number is 12/15 International shipping available upon request. Please contact the gallery for rate quote.
$2,400.00
30×40 in. Cristina Guerreiro Market Street
Cristina Guerreiro lives everywhere and nowhere. She split her childhood between Brazil and Portugal, studied in central England, and is now working towards her MFA at the prestigious San Francisco Art Institute. She records her personal memories and movements from each of these spaces in her work. Her transient city scenes and distinct architectural references, belie feelings of dislocation, identity, and urban energy. To create these pieces, Cristina photographs the buildings she wants then draws them with her own distinct style. The colors are inspired by both of her cultures: Brazilian lively music and forms, the vibrant colors and sounds of the Portuguese people, and the quirky skyscrapers of San Francisco. This piece is an impression of the iconic buildings and bridges in downtown SF, many of them just a few blocks away from Cristina's apartment.
$750.00
Horizon-drawing
Born in 1975 and raised in Quimper, Brittany, Nathalie Chikhi lives and works in Orlando, Florida. She earned her Bachelor in Visual Communication from Le Paraclet, Quimper in 1996 and a degree in Interactive Multimedia from Les Gobelins, Paris in 1999. She has shown at many venues across the USA since 2006, including the Bakehouse Art Complex in Miami (2008), The MassMoca in North Adams, MA (2011), the Museum for Women Artists in Deland, FL (2011), UCF art gallery in Orlando (2012) and FSU gallery of Fine Art in Tallahassee (2012). She held her first solo show at Twelve 21, Orlando in Sept 2011. Her works 'Homage to Donald Judd", sculpture and painting were exhibited at Aqua during Art Basel Miami Beach, 2011. One of her painting, OPAD #1, was selected for the Nurture Art Annual Benefit 2012, in Brooklyn NY. From March 2 to April 20, 2013, she had a solo exhibition, titled "HUE" at Alt Space Gallery, with the Atlantic Center for the Arts, New Smyrna Beach, FL. During summer 2013, she launched a necklaces collection called STIXELS. Last April-May 2014, she did a site specific installation at ArtFields, Lake City SC. She will have a group exhibition in Tampa, in Oct-September 2014 and a mobile installation in March 2015 with the Maitland Art Center.
