John Darley Art

Molesky’s latest body of work approaches art history with wit and irony. Drawing from classical themes and the heroic narrative, he subverts these traditions by casting the banana as...

Nathan Brad Hall's work comes together in this show to build an undeniably jaw dropping experience for viewers. “Undercurrents,” says Hall, “is about ...

Motion Capture #9 explores the conventional representation of females in Western figurative art yet contrasting it with the contemporary imagery of that subject via computer-based im...

Artist Statement—Motion Capture Studio Series. Andrew S. Conklin, a native of Chicago, Illinois, is a figurative painter. Conklin's paintings are a product of his direct interaction...

Andrew S. Conklin Lily in Blue Tights on Pluff Chair oil on linen 24h x 18w in 60.96h x 45.72w cm ACK012 Andrew S. Conklin Artist Statement—Motion Capture Studio Series Andrew S. ...

Nathan Brad Hall's work comes together in this show to build an undeniably jaw dropping experience for viewers. “Undercurrents,” says Hall, “is about ...

Molesky’s latest body of work approaches art history with wit and irony. Drawing from classical themes and the heroic narrative, he subverts these traditions by casting the banana as...

This exceptional piece is a shining example of her signature "Looking Out the Window" series. With its vivid palette and masterful interplay of light, the painting invites viewers in...

Rose Freymuth-Frazier Stimulus oil on linen 50h x 53w x 1.50d in 127h x 134.62w x 3.81d cm RFF066 Rose Freymuth-Frazier Employing the techniques of the past in the service of contem...

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...

Molesky’s latest body of work approaches art history with wit and irony. Drawing from classical themes and the heroic narrative, he subverts these traditions by casting the banana as...

"During a battle reenactment At the Daniel Lady Farm in Gettysburg, I helped carry a soldier from the field to the hospital. This painting depicts that soldier as his leg is amputated. Clara Barton...