Since 1977 Sultan has had an extensive number of solo exhibitions in cities around the world including Paris, Tokyo, Rome, London, Switzerland, San Francisco, Chicago and New York. He was the recipient of the Creative Artists Public Service Grant in New York in 1978-79 and the National Endowment for the Arts in 1980-81. His works are in the public collections of such prominent museums as The Art Institute of Chicago, The Metropolitan Museum of Art, the Smithsonian Institution in Washington, D.C., and the Solomon R. Guggenheim Museum in New York. Sultan executes the traditional still-life in such an extraordinary manner that the viewer is forced to challenge his preconceived notions about it. The large velvety forms of the three lemons in this aquatint demonstrate how he can take representational subject matter and turn it into something abstract. By cropping the enormous lemons in this composition, Sultan draws the viewer into the imagery. Sultan says he was inspired to use lemons after he had seen a retrospective of Manet?s at the Metropolitan Museum of Art. In this exhibition there was a small still-life of the same subject matter. Sultan has taken the traditional still-life to new heights and moved it into the next century.
Aquatint
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.
Moonscape
Andoe received his Bachelors of Fine Arts and Masters of Fine Arts degrees from the University of Oklahoma in Norman, Oklahoma. In 1993 he became an Honorary Chair of the College of Fine Arts at the University of Oklahoma. This award is among the many accomplishments achieved by this Oklahoma native. Andoe has exhibited in solo and group shows in museums and galleries across the United States and in Canada, Italy, and Finland. His works are represented in the permanent collections of the Metropolitan Museum of Art in New York, the Saint Louis Art Museum in Missouri, the Sheldon Memorial Art Gallery in Lincoln, Nebraska, and the Detroit Institute of Art in Michigan.
Dark Country City
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