Johnny Robertson

L.A. Zoo

Represented by George Billis Gallery, NYC & LA -- Dean Adams is a contemporary oil painter from the New York City Area who balances gestural and painterly brushstrokes with real...

Represented by George Billis Gallery in New York City. Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington University, St. Louis, ...

Represented by George Billis Gallery in New York City. Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington University, St. Louis, Missouri, and his Master of Arts degree in 1981, and Master of Fine Arts degree in 1983 from the University of Dallas. Vaughn has focused his energies as an artist working in landscapes for over thirty years. Vaughn approaches his work with a quiet contemplativeness that reflects the serene aspects of the natural world and reveals the underlying spiritual nature that can be found in the environments he portrays. His paintings have been published in New American Paintings and reviewed in the American Arts Quarterly and the St. Louis Post...

Represented by George Billis Gallery in New York City. Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington University, St. Louis, Missouri, and his Master of Arts degree in 1981, and Master of Fine Arts degree in 1983 from the University of Dallas. Vaughn has focused his energies as an artist working in landscapes for over thirty years. Vaughn approaches his work with a quiet contemplativeness that reflects the serene aspects of the natural world and reveals the underlying spiritual nature that can be found in the environments he portrays. His paintings have been published in New American Paintings and reviewed in the American Arts Quarterly and the St. Louis Post...

Represented by George Billis Gallery, NYC & LA -- For the past dozen years or so I’ve focused on bridge elements by selecting portions of bridge structures and painting segments ...

“In my paintings I capture fleeting moments. I paint the sunset day dreams that could have been if we only had a breath in our busy lives to allow them. If ...

Out of many come one. A huge back mountain is formed out of scores of gas spewing smokestacks. The foreboding back mass fills most of the pictorial area. As one gets closer to the canvas, the complexity of the mass if revealed in low on contrast as we see the diverse variety of the stacks with accompanying petrochemical architecture. Above the stacks, plums of air pollutants like sulfur dioxide and nitrogen oxides rise gracefully into the atmosphere. The artist focuses less on the by-product of the stacks and more on his giant pollution machine that he has so astutely rendered. The work is mostly monochromatic but the artist has indicted a red tonality of a sunset/sunrise that offsets the charcoal blacks and grays. ______________________________________________ Submitted by Tamarind Institute Ian Davis...

Painting of New York City Fire Department in New York City by Contemporary British Artist, Angela Wakefield. Art measures 36 x 24 inches Frame measures 41 x 29 inches Angela Wake...

Michael Ward Fruit Triptych 21” x 23” (7”x 23”each) Acrylic on Canvas About the Artist: Michael Ward began his artistic career doing pen and ink rende...

Melissa Sims’ work utilizes motifs from collage and pop art, in that several different images are combined into one cohesive but surreal landscape. Sims c...

Khawam’s first genre of paintings started in 1980 during the heights of the Superrealism movement in New York City where Khawam was the youngest among the group and in his first year...

Tony Khawam's recent work stems from his interest in histories, human emotion, allusions to place, memory, and the ubiquitous fleeting moments of the conscious and unconscious. The recent work has iconic undertones with a focus on the artist’s fascination with historical imagery from the ancient Mesopotamia, Assyria, Egypt, Greek, Roman, with influences of post-war German and American art adopted into his daily artistic and structural practices with the current surroundings and happenings by marrying a skewed perspective with dimensional flatness, his paintings allude to the continuous development of the American culture. The past and present of “Living the Dream” make the case for the way art and its language of color, line, and shape enrich a viewer’s experience of the work and offer a delicate balance between representation and abstraction, mirroring the real and unreal ways in which he paints lived experience. Moreover, his myriad mediums including acrylic, colored pastel, and spray paint further referencing painterly collage in a more experimental and risk-taking approach. The new work features historical and modern figures, social commentary, fashion motifs, everyday object, pop culture ads, cartoons, film, and Florida flora and fauna that inhabit flat, kaleidoscopic surfaces. The artist’ dialogue with the traditions of the past interweave with his participation in current global artistic discussions. This simultaneous engagement with the past, present, and future speaks to a singular creative presence. The new work is charged with a rawness produced by an ambiguous method to narrative and a fractal, unfinished approach to representing the subjects of the paintings. Characters appearing to piece themselves together from aggregated painterly gestures, these forms become figures of power and personal freedom through their abjection. Khawam’s boundless visual appetite for making pattern paintings with women...