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Woman in Floral Dress
A 1990 graduate of Yale University School of Art, Novatny received the Basil H. Alkazzi Award in Painting in 1999. He was also the recipient of the purchase award and Louise Shepard-Hengst Award in the 79th Annual Columbus Art League Exhibitions, and the purchase award and Valentine Award in the 78th Annual Columbus Museum of Art Award. One of New York?s most significant contemporary artists today, Novatny has had solo and group exhibitions throughout the United States. His works often are compared to Russian and European folk art traditions because of his use of brightly colored patterns in the fabric and furniture of his works. These busy patterns seen in the wallpaper, clothes and furniture of his works display the folk traditions of earlier periods. In Woman in a Floral Dress, the artist shows his affinity for busy patterns. The female figure wears a floral patterned dress and carries a piece of cloth with a different pattern on it. Her walk seems mechanized and her mood seems detached. She appears trapped in solitude in a world controlled by the artist. The quirkiness of the figure arouses the imagination of the viewer. What seems so simple at first glance takes on new meaning as the intimacy of the work begins to unfold and reveal itself.
Untitled IV
In 1963 Mangold received his M.F.A. from Yale University School of Art. This esteemed artist has already had retrospectives of his work throughout the world. His popularity has galleries and museums seeking out his artwork in the U.S., Japan, France, Germany, and the Netherlands. He has also been included in several Biennial Exhibitions at the Whitney Museum of American Art in New York. One of the attractions of Mangold?s work is the intellectual stimulation afforded the spectator who remains patient. This is because most viewers must concentrate intensely in order to reach that brief moment of revelation. In this work from his Attic Series he has drawn one of his renowned elliptical shapes. The unevenness of this piece appears disorienting at first glance, but as the viewer studies the work it becomes apparent that it is not just another minimalist work. The earthy atmospheric quality on the surface exudes a warmth lacking in most Minimalist works.
Untitled VI
In 1963 Mangold received his M.F.A. from Yale University School of Art. This esteemed artist has already had retrospectives of his work throughout the world. His popularity has galleries and museums seeking out his artwork in the U.S., Japan, France, Germany, and the Netherlands. He has also been included in several Biennial Exhibitions at the Whitney Museum of American Art in New York. One of the attractions of Mangold?s work is the intellectual stimulation afforded the spectator who remains patient. This is because most viewers must concentrate intensely in order to reach that brief moment of revelation. In this work from his Attic Series he has drawn one of his renowned elliptical shapes. The unevenness of this piece appears disorienting at first glance, but as the viewer studies the work it becomes apparent that it is not just another minimalist work. The earthy atmospheric quality on the surface exudes a warmth lacking in most Minimalist works.
from the Heart of Darkness series (Untitled)
After receiving his art education at the Croydon College of Art in London, Scully received the Stuyvesant Foundation Prize in 1970. He also attended New Castle University in England and Harvard University in Cambridge, Massachusetts. In 1983 he was the recipient of a Guggenheim Fellowship. He taught at Princeton University from 1977-1983. The Corcoran Gallery of Art in Washington, D.C., the Art Institute of Chicago, The Saint Louis Art Museum, the Victoria and Albert Museum in London and the Metropolitan Museum of Art in New York are just a few of the numerous museums throughout the world that have works by Scully in their permanent collections. Known primarily for his idealized use of grids and stripes, Scully seems drawn to repeated shapes. In this untitled work, the artist does not disappoint us by abandoning his stripes and grids but instead embraces his devotion to them. In this work, the artist has created a composition where some of the horizontal stripes are wider than others. The wider ones appear in the middle of the composition and separate the horizontal stripes from the vertical ones.
from the Heart of Darkness series (Untitled)
After receiving his art education at the Croydon College of Art in London, Scully received the Stuyvesant Foundation Prize in 1970. He also attended New Castle University in England and Harvard University in Cambridge, Massachusetts. In 1983 he was the recipient of a Guggenheim Fellowship. He taught at Princeton University from 1977-1983. The Corcoran Gallery of Art in Washington, D.C., the Art Institute of Chicago, The Saint Louis Art Museum, the Victoria and Albert Museum in London and the Metropolitan Museum of Art in New York are just a few of the numerous museums throughout the world that have works by Scully in their permanent collections. Known primarily for his idealized use of grids and stripes, Scully seems drawn to repeated shapes. In this untitled work, the artist does not disappoint us by abandoning his stripes and grids but instead embraces his devotion to them. In this work, the artist has created a composition where some of the horizontal stripes are wider than others. The wider ones appear in the middle of the composition and separate the horizontal stripes from the vertical ones.
Low and Narrow
Salle received his BFA and MFA from California Institute of the Arts, Valencia, California in 1973 and 1975 respectively. His work is amongst the museum collections of the Art Institute of Chicago, Chicago, Illinois; the Museum of Modern Art, New York City, New York; the Guggenheim Museum, New York City, New York; the Whitney Museum of American Art, New York City, New York and the Museum Boymans-van Beuningen, Rotterdam. Reviews of his work have been in many prestigious magazines including Art in America, Arts Magazine, Art Monthly and Artforum. Low and Narrow exhibits the layering of images so commonly found in Salle?s works. His method of combining high art and low art imagery lends ambiguity to his pieces. One can recognize the influence that Robert Rauschenberg has had on David Salle when you consider the layering of images and subject matter in this work.
Untitled
Bavinger is not only known for his painting but also for his unique house designed by one of the most prominent architects of the twentieth century, Bruce Goff. Bavinger and his wife, Nancy and some of his students from the University of Oklahoma built the house in the early 1950s. Architects the world over know this house as the Bavinger House. The ambiance of the house reflects the influences of Abstract Expressionism. It became a watering hole for artists to gather and discuss art not unlike the well-known Cedar Tavern in New York City where the legendary New York School artists gathered. His studies in art were interrupted by military duty in 1942. He was a pilot instructor in the Air Force and this experience directly affected not only his outlook on the world but his art, too. He returned to Oklahoma in 1947 and began his teaching career in the art department at the University of Oklahoma where he had once been a student. He began teaching one year after graduation and continued until his retirement from teaching in 1980. In this monumental abstract work by Bavinger, one can observe the influences his military days as a pilot had on his work. The terrain one sees while flying can be seen in this work. The artist stated that his ?ideas are not without reference to nature. However, the interpretation of reality is concerned with force, movement, vibration; and the constantly changing light, color and space.? He felt that it gave his work an abstract identification.
Untitled
The cofounder of the Kansas City Artists Coalition and former art editor of Helcion Nine, Bennett has played an active role in the Kansas City art scene for nearly four decades. She has been a visiting and adjunct professor at Kansas City Art Institute and lectured at museums and art departments at college campuses around the country for many years. A graduate of the University of Nebraska and recipient of its Achievement Award for the class of 1956, Bennett continues her reputation as a prolific artist and advocate for the arts in Kansas City. Her work is included in the collections of The National Museum of Women in the Arts in Washington, D.C. and the Nelson-Atkins Museum of Art in Kansas City, Missouri. Prominent corporate collections such as Hallmark, Incorporated and Prudential Life Insurance also include her work in their prestigious collections. Reminiscent of Motherwell?s famous Elegy series, this mostly white and black work with its oval imagery contains the gestural markings commonly seen in the works of the Abstract Expressionists. These markings convey the spontaneity of Bennett?s work. The auras surrounding the oval symbols add an element of spirituality often found in her early works.
Calamar Blue
Christensen graduated from the Kansas City Art Institute in the 1960s but now lives in New York City. He has been the recipient of a National Endowment Grant, Guggenheim Fellowship Theodoran Award and Gottlieb Foundation Grant. His paintings are in the collections of such prominent museums as the Whitney Museum of American Art and the Guggenheim Museum in New York. His solo and group exhibitions include galleries in cities in Canada, Germany and the United States.