Scott Kahn

Since leaving art school, Joseph has made photography a constant and serious part of his life.

A resident of New York, he finds particular inspiration in the familiar and well trod backyard paths of his South Salem garden, the bustling streets and avenues of New York City, as well as the unique locations he diligently pursues in his travels back and forth across the country and when overseas.

He is continuously working to develop his technique and intensify the images that constantly engage him.  His varied work experiences as a gardener, photographer’s assistant, art director, and film producer have been a continuing adjunct to the constant of fine art photography.

His work is represented in four fine art/photo galleries in California, Connecticut, Massachusetts, and Virginia.  Additionally, his work can be found in numerous public and private collections.

Browse available works on EditionedArt.

Originally from Denmark, Torkil Gudnason approaches photography with a no-nonsense, Scandinavian sensibility. His style is simple and graphic. He prefers shooting in color in order to play various hues off one another. When asked to list five things he can’t live without as a photographer, his answer is appropriately succinct: light, light, light, light and more light.

Later Torkil Gudnason started with his real passion; Fine Art photography, which has been, and is now, shown at a number of prestigious galleries and museums across the world, as well as on the walls of many Fine Art photography collectors.

Watch Torkil Gudnason on YouTube at Ports 1961 Exhibition in New York City

She earned a BFA with honors, RISD ‘89 Photo with a senior thesis called “The Female Object”; took a class at Brown University, in Semiotics. After graduation, Greenberg moved to New York City. Interned at Pace MacGill, and enrolled in continuing education classes at School of Visual Arts: Studio Art, Contemporary Art History, Photoshop 1.0 in 1991.
Then, after almost-but not quite- getting into the Whitney Program’s Independent Study art program in 1992, she opted to focus primarily on assignment work until 2001, when the “Monkey Portraits*” series began.

In 1974 Doug earned a degree in Commercial Arts and went on during the early stages of his career to work in several genres of the art world. From painting caricatures to billboards, Doug’s pursuits steered him towards the mastery of fine art techniques and a working mentorship with Marv Gunderson, the exclusive artist for the Marlboro brand. Painting iconic works on billboards all over the country was a highlight early on in his career and he still draws from the inspiration and lessons learned during the tour.

Doug has since been commissioned to paint two 30 x 200 murals at Tampas Tropicana Field, a project which took six months to complete and inspired him to focus solely on painting fine art pieces.

The influence of paper printed comics from eras past is still tangible in Doug Bloodworth’s photorealism.  Combined with decades of artistic technique and the personal connection offered by his custom works, Doug’s collectability is rapidly growing.  He is now recognized in the international art community as one of the premiere photorealist painters of this period.

Every work is $1,200 except for the Seltzer which is $600. Medium: giclee on canvas. Note: Giclee technology on canvas has become more sophisticated given new developments in printing technology creating an uncanny appearance to an original oil painting.

Mark’s creative vision has been alive since he was a boy. As a child he spent his summers observing life as he rode the trolley back and forth to art classes at the Pratt Institute. During his future travels to Europe, Marks eye for light and photography merged with his passion for painting at the Jeu de Pomme in Paris, which triggered his career in photorealism.

Mark is well known for painting objects that people can identify and emotionally connect with. His work is distinctly marked by a rich palette and the luminous range of light he paints into his compositions. Each painting is a true extension of his vision and can take up to 200 hours to complete.

Mark Schiff’s work has been commissioned by the well-known brands The Hershey Company and Tropicana.  Possessing a strong philanthropic nature, Mark donates both his time and works to charitable organizations such as Big Brothers Big Sisters, The Ronald McDonald House, Make-A-Wish Foundation, The Humane Society and the Special Olympics.

Browse available works on EditionedArt

A founder of the 1970s Pattern and Decoration movement in America,Joyce Kozloff is an internationally recognized painter, public muralist, and printmaker. Her work reinforces her belief that decoration is the coming together of painting, sculpture, architecture and the applied arts to humanize our living and working spaces.

SELECTED PUBLIC COLLECTIONS
Brooklyn Museum, NY
Fine Arts Museums of San Francisco de Young Memorial Museum, CA
Indianapolis Museum of Art, IN
Jewish Museum, New York, NY
Library of Congress, Washington, DC
Los Angeles County Museum of Art, CA
The Metropolitan Museum of Art, New York, NY
The Museum of Modern Art, New York, NY
National Museum of American Art, Smithsonian Institution,
Washington, DC
National Museum of Women in the Arts, Washington, DC
Whitney Museum of American Art, New York, NY

Browse available works on EditionedArt

Abstract painter Bill Komoski’s work borrows from a variety of mediums – comic strips, architectural structures, computer simulations – in order to suggest the exuberance and disquiet of rapid social changes.

SELECTED PUBLIC COLLECTIONS
Phoenix Art Museum, AZ

Browse available works on EditionedArt

One of the most prominent African-American artists in the United States, Sam Gilliam is widely recognized as an original and innovative color field painter. He has redefined the techniques of this tradition and continues to reinvent his ideas about making art.

SELECTED PUBLIC COLLECTIONS
The Art Institute of Chicago, IL
Hirshhorn Museum and Sculpture Garden, Washington, DC
Louisiana Museum of Modern Art, Humlebaek, Denmark
The Menil Collection, Houston, TX
The Metropolitan Museum of Art, New York, NY
Musee d’Art Moderne de la Ville de Paris, Paris, France
Museum of African Art, Washington, DC
The Museum of Modern Art, New York, NY

Browse available works on EditionedArt

Solo exhibitions

• 2006 Small Talk, High Heels – solo touring show, Glynn Vivian Gallery, Swansea, Oriel Mostyn, LLandudno, touring to Africa and Belfast, Wales, Africa and Northern Ireland

Residencies

• 2001 SITE-ATIONS Project, Staten Island, New York

Competitions, prizes and awards

• 2006 Nominated for the Arts Foundation Fellowship
• 2006 Selected for Artes Mundi, international art prize

Site specific

• 2010 ’SHH!’ – Theatre installation, MILLENNIUM CENTRE WALES, CARDIFF

Artist’s website

• www.nomorepink.com

“When they are subjected to contemplation, by being simultaneously seductive and provocative, they return the spectator’s gaze, questioning the viewer about his or her own emotions and desires”. Ivo Mesquita, curator – Projecto Octogono, Pinacoteca do Estado, Sao Paulo, Brazil

Inspired by the city’s presence, light, and architecture, Lutter began experimenting with photography. In order to capture an immediate and direct imprint of her experience, Lutter decided to turn the room in which she lived into a large pinhole camera—thereby transforming the space that contained her personal experience into the apparatus that would capture an image of it. Through a simple pinhole instead of an optically carved lens, the outside world flooded the interior of the room and projected an inverted image onto the opposite wall. Exposing directly onto wall-size sheets of photographic paper, the artist achieved large-scale black and white images. Maintaining her concept of directness and least possible alteration, Lutter decided to retain the negative image and refrain from multiplication or reproduction.

New York remains Vera Lutter’s home since 1993 and a returning subject in her work, yet she soon started working internationally employing the technique of the camera obscura, or pinhole camera, in projects around the world where she photographically rendered architecture, shipyards, airports, and abandoned factories, focusing on industrial sites that pertain to transportation and fabrication.

Lutter’s images have been exhibited in group and solo shows in many recognized institutions such as the Museo Nacional Centro de Arte Reina Sofia, Madrid; the Centre Pompidou, Paris; Dia: Beacon and Dia: Chelsea, New York; Kunsthalle, Basel; the Museum of Modern Art, New York and the Whitney Museum of American Art, New York. Her photographs are in the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of Art, the Museum of Fine Arts, Houston, the Neue Galerie New York and the San Francisco Museum of Modern Art, among others. The photographer is represented by Gagosian Gallery, Galerie Max Hetzler, and Galerie Xippas.

Her work has been recognized by many periodicals including Artforum, ARTNews, Art in America, BOMB, and The New York Times; as well as books including 100 Contemporary Artists (Taschen), The Photograph as Contemporary Art (Thames & Hudson), and Vitamin Ph: New Perspectives in Photography (Phaidon). Lutter had the honor of receiving the Pollock-Krasner Foundation Grant in 2002, a John Simon Guggenheim Memorial Foundation Fellowship in 2001, and the Deutscher Akademischer Austausch Dienst (DAAD) Grant in 1993.

Music is the genesis of Tim Bavington’s paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence.

His work is included in the public collections of Fredrick R. Weisman Collection (CA), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO) and The Museum of Modern Art (NY).

A cult figure among underground music devotees for his early work associated with the Los Angeles punk rock scene, Pettibon has acquired an international reputation as one of the foremost contemporary American artists working with drawing, text, and artist’s books. Pettibon is as likely to explore the subject of surfing as he is typography; themes from art history and nineteenth-century literature appear in the same breath with American politics from the 1960s and contemporary pop culture.

In his 1998 anthology, “Raymond Pettibon: A Reader,” the viewer can read over Pettibon’s shoulder to discover a handful of the artist’s muses—Henry James, Mickey Spillane, Marcel Proust, William Blake, and Samuel Beckett, among others. In the 1990s, Pettibon extended his work beyond the printed page and onto the walls of the exhibition space, creating wall-sized drawings and collages.

Retrospectives of his work have been held at the Philadelphia Museum of Art, the Santa Monica Museum of Art, and the Museum of Contemporary Art, Los Angeles. In 2002, an exhibition of his drawings, Plots Laid Thick, was organized by the Museu d’Art Contemporani de Barcelona, Spain, and traveled to the Tokyo Opera City Art Gallery, and the Haags Gemeentemuseum in the Netherlands. Pettibon’s work was also featured at Documenta XI in Kassell, Germany. Pettibon lives and works in Hermosa Beach, California.

For over twenty-five years, Peter Halley’s geometric paintings have been engaged in a play of relationships between what he calls “prisons” and “cells” – icons that reflect the increasing geometricization of social space in the world in which we live.

Halley has had one-person museum exhibitions at the capc Musee d’Art Contemporain, Bordeaux (1991), the Museo Nacional Centro de Arte Reina Sofia, Madrid (1992), the Stedelijk Museum, Amsterdam (1992), the Des Moines Art Center (1992), the Dallas Museum of Art (1995), the Museum of Modern Art, New York (1997), the Kitakyushu Municipal Museum of Art (1998), the Museum Folkwang, Essen (1998), and the Butler Institute of American Art (1999).

His work has been exhibited in galleries in Chicago, London, Madrid, Moscow, New York, Paris, Rome, Seoul, and Tokyo.

Since the mid-1990s, Halley has produced site-specific installations for exhibitions and as permanent public works. These projects have been realized at the State University of New York, Buffalo (1998), the city library in Usera, Spain (2002), the Banco Suisso d’Italia Art Collection, Turin (2003), and the Dallas/Fort Worth International Airport in Texas (2005). In 2008, he completed a large permanent installation for the Gallatin School at New York University.

Halley has also written on art and culture throughout his career. His early essays, which address post-structuralism, post-modernism, and the digital revolution of the 1980s, have been anthologized in two books of collected writings. In 2001, he received the Frank Jewett Mather Award from the College Art Association in the U.S. for his critical writing.

From 1996 to 2006, Peter Halley published index magazine, which featured in-depth interviews with creative people. He has taught at Columbia University, UCLA, and the School of Visual Arts. Since 2002, Halley has been the Director of Graduate Studies in Painting and Printmaking at the Yale University School of Art.

Kelly abstracts the forms in his paintings from observations of the real world, such as shadows cast by trees or the spaces between architectural elements. In 1950, Kelly met Jean Arp and that same year began to make shaped-wood reliefs and collages in which elements were arranged according to the laws of chance. He soon began to make paintings in separate panels that can be recombined to produce alternate compositions, as well as multipanel paintings in which each canvas is painted a single color. During the 1950s, he traveled throughout France, where he met Constantin Brancusi, Alexander Calder, Alberto Magnelli, Francis Picabia, and Georges Vantongerloo, among other artists. His first solo show took place at the Galerie Arnaud, Paris, in 1951.

Kelly returned to the United States in 1954, living first in a studio apartment on Broad Street, and then at Coenties Slip in lower Manhattan, where his neighbors would through the years include Robert Indiana, Agnes Martin, Fred Mitchell, James Rosenquist, Lenore Tawney, and Jack Youngerman. Kelly continued to develop and expand the vocabulary of painting, exploring issues of form and ground with his flatly painted canvases. His first solo show in New York was held at the Betty Parsons Gallery in 1956, and three years later he was included in Sixteen Americans at the Museum of Modern Art, New York. In 1958, he also began to make freestanding sculptures. He moved out of Manhattan in 1970, set up a studio in Chatham, and a home in nearby Spencertown, New York.