Leslie Lewis Sigler

The Dinner Party

2025

In my work I explore family objects as “families” of objects—individual silver heirlooms that are related to one another in a single collection and, collectively, to the individual f...

In my work I explore family objects as “families” of objects—individual silver heirlooms that are related to one another in a single collection and, collectively, to the individual f...

In my work I explore family objects as “families” of objects—individual silver heirlooms that are related to one another in a single collection and, collectively, to the individual f...

In my work I explore family objects as “families” of objects—individual silver heirlooms that are related to one another in a single collection and, collectively, to the individual f...

The Dinner Susan Hall, American (1943) Date: 1978 Aquatint Etching, signed and numbered in pencil Edition of 78 Image Size: 28 x 21.5 inches Size: 35 in. x 28 in. (88.9 cm x 71.12 cm)

Still life combining plastic and metal utensils on a white tablecloth. :: Painting :: Modern :: This piece comes with an official certificate of authenticity signed by the artist :: ...

“Gather” is an elegant still life by Boston-based artist McKenzie West, capturing a delicate arrangement of shells and crab claws nestled in a dark bowl. This intimate composition ex...

Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight, and Sarah Peters...