New Art from 31GRAND Gallery

New Art from 31GRAND Gallery:
www.31grand.com

HELEN GRABER

"Self-Portrait in Red" 2003




BARNABY WHITFIELD

www.barnabywhitfield.com

"Tipperary"

"Oh Shatter The Mask! My Mother is Anh Duong!"

"Don't Call Me Log Cabin"

ARTIST'S INFO:

Barnaby Whitfield is a pastel artist in New York City and member of the prestigious White Columns Curated Artist Registry. Barnaby's recent solo exhibition "Whore With Red Cheeks" was at the 31GRAND gallery in Brooklyn's Williamsburg. An unabashed and unapologetic pastel artist with an obsessive nature toned in kitsch and pith; Whitfield creates a personal mythology within an art historical context.

Growing up the child of a politician and an educator in south Florida, Whitfield found himself at the age of 6 living in the master suite of a haunted Antebellum Mansion on an abandoned horse farm. The former owner, and now ghost, Norma, had succumbed to madness for the last ten years of her life. It was said she often walked to the end of the circular drive waving with undergarments fastened to the outside of her clothes. But it was inside the house that her madness truly reined, where she had stuffed her rooms with worthless discards. Whitfield’s family found the former master suite’s, pink and maroon tiled, bathroom, stuffed with lipsticks even filling the toilet bowl; permanently streaking it in the waxy reds his Mother and Father kept in memoriam.

MIKE COCKRILL

www.mikecockrill.com


"Vision in the Garden"




Mike Cockrill presents a world where children slumber in a dreamscape of tangled trees, falling rivers, crows, foxes, and prowling tigers. His large, complex paintings are rich with color and latent imagery - boys hunting with long poles, a princess girl taking flight on a carousel horse, a sleeping girl on a bed dissolving into a pond teaming with fish and frogs.

The fears and yearnings of childhood form iconic moments in Cockrill's work that point to the unspoken truths embedded in storybook fables. Sexual undercurrents find subtle presentation, as in the tender painting “Cross My Heart,” in which a mother places a reprimanding finger on her little boy's nose. Or, sexuality may rage like bolts of electricity as in “Electra. ” Here, with subtle washes of paint and pencil marks, Cockrill depicts a standing female nude fragmenting against a deadpan suburban background and clutching herself in a moment of almost religious ecstasy - hair forming ribbons of lightning, arching into the sky.

Mike Cockrill lives and works in Brooklyn and has shown extensively in New York. His 2005 painting “Ascension”, called a “camp masterwork” by Steven Vincent in Art in America, is currently on view at the Forbes Galleries in the show “Post MalcomModern.

New Art from JACK SHAINMAN GALLERY in New York

New work by Nir Hod

"Luna a Las Vegas"

Artist's Information

Education
1989-1993 B.F.A., Bezalel Academy of Art and Design, Jerusalem
1991 Student Exchange Program, Cooper Union School of Art, New York


Selected Solo Exhibitions
2006 “You Are Not Alone,” Jack Shainman Gallery, New York
2005 "Forever," Tel Aviv Museum of Art, Tel Aviv
"Luna a Las Vegas," Alon Segev Gallery, Tel Aviv
2001 "Destiny's Days," Rosenfeld Gallery ,Tel Aviv
2000 "Heroes’ Tears," The Borowsky Gallery at the Gershman Y, Philadelphia
"Nir Hod," LiebmanMagnan Gallery, New York
1999 "Forever," Lime Light Club, New York
1998 "Forever," LiebmanMagnan Gallery, New York; Miami-Dade
Community College, Wolfson Galleries, Miami
"Bleeding Hearts," The Opera House, Tel Aviv
1997 "DOHRIN: The Last Painting," The Museum of Israeli Art, Ramat Gan,
Israel
"A Souvenir from November," Mary Fauzi Gallery, Tel Aviv
"Controversial Innocence," Rosenfeld Gallery, Tel Aviv
1996 "The Brush of the Heart," Noga Gallery of Contemporary Art ,Tel Aviv


Selected Group Exhibitions
2006 “East Meets Pop,” Nathan A. Bernstein Gallery, New York
"Poiesis," Jack Shainman Gallery, New York
2005 The New Hebrews – A Century of Art in Israel, Martin-Gropius-Bau
Museum, Berlin
2004 Rose c'est la vie: On Flowers in Contemporary Art, Tel Aviv Museum of Art
Stop & Stor, LUXE Gallery, New York
Pets, Time for Art (Zman Le'Omanut), Israeli Art Center, Tel Aviv
Love is in the Air: Images of Romantic Love in Contemporary Israeli Art, Time for Art (Zman Le'Omanut), Israeli Art Center, Tel Aviv
2003 “Wonderyears: New reflections on the Shoa and Nazism in Israel,” Neue Gesellschaft für Bildende Kunst (NGBK), Berlin; Künstraum Kreuzberg / Künstlerhaus Bethanien, Berlin
2002 9-11: One Year Later, The New York Historical Society, New York
2001 Uncommon Threads: Contemporary Artists and Clothing, Herbert F.
Johnson Museum of Art, Cornell University, Ithaca, New York
Between Earth and Heaven: New Classical Movements in the Art
Today, Museum of Modern Art, Ostend, Belgium
2000 Manly, Art in General, New York
Gallery Artists, LiebmanMagnan Gallery, New York
Cutting Edge: Style, Psychosis and the Ethics of Self, Robert Sandelson
Gallery, London
1998 Uniform, Center for Curatorial Studies, Bard College, Annandale-on-
Hudson, New York
After Rabin: New Art from Israel, The Jewish Museum, New York
Bamot: The Building, Destruction and Restoration of High Places –
Israel 1948-1998, The Vienna Jewish Museum, Vienna
The Lesser Light, The Israel Museum, Jerusalem
1997 Fantasy, Herzliya Museum of Contemporary Art, Herzliya, Israel
1996-98 Desert Cliché: Israel Now – Local Images, traveling exhibition, Bass Museum of Art, Miami Beach, Florida; Grey Art Gallery & Study Center of New York University, New York; Nexus Contemporary Art Center, Atlanta; Yerba Buena Center for the Art, San Francisco
1995 In Construction, The Haifa Museum of Art, Haifa, Israel
Windows, The Israel Museum, Jerusalem
1994 MetaSex 94: Identity, Body and Sexuality, Ein Harod Museum of Art, Ein Harod, Israel; Bat Yam Museum of Art, Bat Yam, Israel
Transit, Alternative Space at the Central Bus Station, Tel Aviv
1993 Antipathos: Black Humor, Irony and Cynicism in Contemporary Israeli Art, The Israel Museum, Jerusalem


Selected Bibliography - Reviews and Periodicals
Irene Armbruster, "Von der Wuste in die Werte – Landschaft," Aufbau, December 5, 1997
Avner Bernheimer, "Narcissus' Confessions," Yediot Aharonot, Shiva Yamim (weekend supplement), April 4, 1997, pp. 62-68 (Hebrew)
Maia Beker, "Today Michelangelo would also be Making Toaster Ovens," Tarbut Maariv, December 29, 1999, pp. 12-13 (Hebrew)
Grace Glueck, ”Israelis Who Put Acid in the Milk and Honey Formula,” The New York Times, November 28, 1997, p. 40 (review of Desert Cliché)
Ken Johnson, "Angst and Introspection in a Time of Transition," The New York Times, September 18, 1998, p. 36 (review of After Rabin)
Tami Katz-Freiman, “This is not a Child, only a Child’s Image,” Mishkafayim 17, December 1992, pp. 46-47 (Hebrew)
Shani Litman, "Narcissus King of the Swamp," Haaretz, September 17, 1997, p. D3
Jonathan Mandell, ”Mideast Coexistence,” Newsday, December 12, 1997, p. B29 (review of Desert Cliché)
John Mendelson, "The Art of the Double Take," The Jewish Week, January 2, 1998, p. 13
Amelia Rosenblum, The American Dream of Nir Hod, Maariv, Sofshavua (weekend supplement), March 30, 2001, pp. 66-74 (Hebrew)
Martha Schwendener, ”Sabra Story,“ Time Out New York, January 15-22, 1998, p. 38 (review of Desert Cliché)
Kim Sillen, "Nir Hod: Forever," NY Arts Magazine, May 1998, p. 21
Franklin Sirmans, "Nir Hod at LiebmanMagnan," Art in America, January 1999, p.101
Ran Shchori, "Cellophane also Bleeds," Iton Tel Aviv, June 28, 1996, p. 75 (Hebrew)
Smadar Shefi, "As Pretty as Publicity," Haaretz, January 12, 2000, p. D8 (Hebrew)
Yoav Shmueli, "His Royal Highness," Ha'Ir, October 10, 1997, pp. 68-69
Elisa Turner, "Exhibits Celebrate Unusual Portraits," Miami Herald, November 27, 1998, p. 17G
Grady T. Turner, "Boy Talk," World Art, 20, Spring 1999, pp. 56-57
Grady T. Turner, "Nir Hod: Overture," Flash Art, October 1999, p. 108
Uzi Tzur, "All This Beauty: Nir Hod at Noga Gallery of Contemporary Art," Haaretz, June 28, 1996, p. D2 (Hebrew)
Richard Vine, "Report from Israel: Wider Focus," Art in America, May 2000, p. 75
Galia Yahav, "Nir Hod's Cliché," Globs, June 21, 1996, p. 18 (Hebrew)


Selected Bibliography - Books and Catalogues
Tami Katz-Freiman, "Forever Young," Wolfson Galleries, Miami-Dade Community College, Miami, 1999 (exhibition catalogue)
"Nir Hod: Forever," Tel Aviv Museum of Art, 2005 (exhibition catalogue)

New Art from HESPE GALLERY in San Francisco

New Art from HESPE GALLERY in San Francisco
http://www.hespe.com

New Work by

ERIN CONE

"Boxed" 2005

Artist's Information: website: www.erincone.com

Known for her highly stylized, photographically influenced self-portraits, Cone paints contemplative compositions, that remove the figure from a natural context and at the same time seem to pinpoint personal proclivities, or ideas about the self, although in an ambiguous way. She employs modernist singular cubes of color that at times break up, highlight or even integrate the human form. Cone is interested in shifting perspectives, uncertain interpretations and how each person can "approach" her paintings. Viewers should carefully consider Cone's paintings and discover their own "approach" to these strangely simple yet sensually charged images.

ARTICLE - ERIN CONE - AMERICAN ART COLLECTOR MAGAZINE

A Great New Painting from

ERIC ZENER

"Within Reach"



Artist's Information:

Zener's figurative and still life oil paintings reflect the meditative, introspective side of people, offering a retreat from reality into a quiet state of being.

Whether it is a woman diving into the water, laborers who are engaged in their work, or a couple relaxing on a hillside, Zener paints the human form at its most vulnerable moments of joy, contemplation, serenity and determination.

Zener has exhibited his work nationally and internationally in Spain, Australia, Japan and Greece. Selected collections include Alfabia Museum, Japan, l'Ajuntament de L'Escala, Spain, Walt Disney, The Gap, Wellington Management and Wyndham Hotel.

TULLMAN COLLECTION TULLMAN COLLECTION TULLMAN COLLECTION

COLLECTION ARTISTS - FINALISTS IN NATIONAL PORTRAIT COMPETITION

Congratulations to all the contestants and especially to the Finalists in the 2006 Boochever Competition at the National Portrait Gallery.

Jenny Dubnau
http://www.portraitcompetition.si.edu/exhibition/PeoplesChoiceAward/EntryDetails.aspx?RID=13"



Artist Statement:
One of the most interesting aspects of portraiture, for me, is the way it can simply record a person. I like the idea that somewhere behind the fictionalized, painted version of the subject of a portrait lurks (or lurked) someone real. In my work, this idea of “realness” seems to crop up in the way the paint functions and in the use of photography, as well as in the imagery itself. I love using the paint to really describe the various textures of the human body: tongues, eyeballs, hair, teeth. A sense of verisimilitude, even if it disturbs, enhances the physical (mortal) presence of the subjects, and creates, for me, a tension between the psychological complexity of the sitter and her/his primal fleshiness. My paintings are made from photographs. Photographs are by their very nature “true,” in the sense that the camera lens is an ostensibly objective recorder of reality. This is of course both true and false: the photograph does offer a more literally real rendition of life than does painting, but at the same time contains mediations and oddities of its own: the exact moment the shutter is clicked, the blurring of the depth of field, and the strangely random cropping, to name a few. I like allowing photographic language to be engulfed, as I see it, by the language of painting, in which every formal move is intentional and is a potential site for metaphor. Using photographs as a source also provides linkage to the “realness” idea: we know that photos capture, in their near-cruel objectivity, what we “really look like,” meaning our flaws and particularities of physiognomy; expanding upon that idea in a painting context both intensifies and mediates that harsh objectivity.

Jared Joslin

http://www.portraitcompetition.si.edu/exhibition/PeoplesChoiceAward/EntryDetails.aspx?RID=17"



Artist Statement:
In art, as in life, directing one’s gaze towards the self is critical. When working in the realm of figurative painting, a self-portrait often serves as a checkpoint, a signpost to elucidate where life has taken you. Within this self-portrait are elements that function as signifiers. The gloved hand is my muse, that which brings dreams and encompasses the inexplicable. (It is also, on a literal level, my wife’s hand; She being the subject/muse of whom I most frequently paint portraits.) The environment within which I am situated, with peppermint-striped curtains and wainscoting, references the aesthetic of the early 20th century circus, a longtime influence and inspiration. The ring on my finger is a link to the past; it belonged to my late grandfather. As a young man during the Depression, he saved for many months to obtain it. It is symbolic of accomplishments gained through hard work and the reward that comes with that. Much in the same way, painting has given me great rewards through many years of devotion and discipline. I welcome you to explore more of my works online at: www.jaredjoslin.com.

Nathaniel Lang
http://www.portraitcompetition.si.edu/exhibition/PeoplesChoiceAward/EntryDetails.aspx?RID=23"



Artist Statement:
This portrait was begun when I learned that the subject would be leaving North Carolina, and was finished more than a month after she had gone. In my current work I paint my immediate circle of friends, isolating each person for closer inspection. Careful observation of individual faces creates a sense of physical familiarity. I want to suggest that we may intimately know someone’s face while never completely knowing his or her mind. I begin each portrait by taking a series of photographs, trying to capture a face in a light and a pose that seem both ordinary but visually interesting. I then translate these photos into egg tempera paintings. The brush strokes and the distortions that occur while painting become evidence of human labor and the effort required in striving to understand others.

Jenny Morgan
http://www.portraitcompetition.si.edu/exhibition/PeoplesChoiceAward/EntryDetails.aspx?RID=30"



Artist Statement:
Created during a time of intense personal transition, Falling Into is a self-portrait serving to question identity. Within the diptych format, the two images of self face each other, but are dramatically separated by the space between the two sister panels. The figures crouch down and both subjects, on opposing canvases, face inward. The cropping of the poses aids in conceptual meaning; the faces of both figures disappear within the vacant space and the viewer is left to mentally fill in the absence. Symbolically the red cloth is used to represent strong, deeply felt sentiment. As the two semi-mirrored bodies grasp the tense and stretched fabric at once they are connected emotionally, but still alienated from one another physically. The use of this fragmented image stands as a metaphor for looking inward and true personal investigation. "Falling Into" is the third painting in a three-piece series relating to this emotional transition. The other two works, The Fallout (a diptych) and Intermission (a panel) also pose these figures with a red cloth.

Sharon Sprung
http://www.portraitcompetition.si.edu/exhibition/PeoplesChoiceAward/EntryDetails.aspx?RID=42"



Artist Statement:
“A” was a waitress and bartender at a local bistro I frequent. I responded to her spontaneity and animation, always –moving—quick and unexpected. Proximity and repetition allowed me the opportunity to observe her before asking her to pose. She was a curious and willing model—uncharacteristically quiet when she viewed the results on my easel soon after the completion of the painting. We lost touch—she, off to something –else—an aggressive explorer who has lived all over the world. I thought the strongly colored, striped sweater reflected her enthusiastic, impatient and changeable character, infusing the painting with a contemporary image of a young, spirited female, ruled by will and the intent to experience life on her terms. The composition and surface combine my interest in a contemporary pictorialism with my respect for the skills of the past masters. I always attempt to meld this sensibility of the immediate present with the truth of nature, carefully and patiently observed. “A” and I continue to seek, she more restlessly than I.

Costa Vavagiakis
http://www.portraitcompetition.si.edu/exhibition/PeoplesChoiceAward/EntryDetails.aspx?RID=44"



Artist Statement:
My primary vehicle of expression is the human figure. Painting from direct observation, and with an emphasis on form, I aim to give expression to the sitter’s physiognomy. To accomplish this, I meticulously layer paint to develop the form. Working into the surface of the painting by repeatedly scraping and sanding, I make radical adjustments until both space and figure are fully articulated into a palpable image. Through creating the illusion that the image has been sculpted out of pigment, the figure can then be projected assertively into viewer’s space—heightening that can take several years to complete. This portrait is a painting of my dear friend Arthur Hammer, a fellow artist. We have drawn and painted each other for several years now. Like most of my portraits, they are not commissioned. They are personal statements, where light, form and space serve the sitter’s emotion.

Will Wilson
http://www.portraitcompetition.si.edu/exhibition/PeoplesChoiceAward/EntryDetails.aspx?RID=48"



Artist Statement:
My painting Convexed is a self-portrait in which I allude to aspects of my past, present, and future as an artist. The past is represented by the interior of the Schuler School of Fine Arts in Baltimore, Maryland, where I began my formal art training and taught for a number of years. I knew those sculptures well, as they were undying slaves used in my study of form and figure. The heroic plaster of Adam and Eve’s expulsion from the garden looms above my head. The pair is leaving Eden full of knowledge, but their journey promises to be a difficult one not unlike the transition from art student to professional artist. The present is shown by my “in the moment” act of painting, a process of creating which suggests our divine nature. The future is represented by the tip of the brush breaking what appears to be the hard and fast boundary of the frame’s gilded edge and moving into the mystery of the unknown. All at once the past and the future exist in the moment—the only place they can exist.

Recent Shots of the Loft

Recent Shots of the Loft in preparation for the American Art Collector article.

The Virtual Tour of the Loft is available at:
http://tours3.vht.com/vt/STD/virtualtour.aspx?ListingID=1029445

TULLMAN COLLECTION ARTISTS in AMERICAN ART COLLECTOR magazine

Tullman Collection Artists

Featured in AMERICAN ART COLLECTOR magazine


www.americanartcollector.com


THERE ISN'T A BETTER, MORE CURRENT OR MORE USEFUL MAGAZINE BEING PUBLISHED TODAY FOR ACTIVE ART COLLECTORS ANYWHERE IN THE WORLD.

Issue 1 - Premiere

Bernardo Torrens
Page 60
Eric Hammer
Page 72
Alan Feltus
Page 96
James Rieck
Page 104
Will Wilson
Page 112
Scott Prior
Page 124
Bill Haveron
Page 184
Paul Galloway
Page 216
Daniel Sprick
Page 196

Issue 2 – 12/05

Victor Wang
Page 142
Karen Horn
Page 70

Issue 3 – 1/06

Bruno Surdo
Page 110
Kate Lehman
Page 14

Issue 4 – 2/06

Hilo Chen
Page 152

Sharon Shapiro
Page 98-99

Issue 5 – 3/06

Amy Weiskopf
Page 114
Eric Zener
Page 120

Issue 6 – 4/06

Harold Gregor
Page 170

Issue 7 – 5/06

Eric Wert
Page 74
Jennifer Nehrbass
Page 74
Jacob A. Pfeiffer
Page 144
Alyssa Monks
Page 154
Stephen Wright
Page 190

Issue 8 – 6-06

Dan Griggs
Page 192

Issue 9

Issue 10

Issue 11

Issue 12

Janice Urnstein Weissman
Page 50 & 56
Mel Ramos
Page 53
Bill Vuksanovich
Page 54
Guy Diehl
Page 56
Tullman Collector Article
Page 72 (Many Collection Artists)
Erin Cone
Page 134
Kate Lehman
Page 164
Suzanne Falk
Page 215

Issue 13

Pence Gallery Article

Pages 72-81
Will Wilson

Pages 75 & 80

New Art from KLAUDIA MARR GALLERY in Santa Fe

13th Annual Realism Invitational at Klaudia Marr Gallery. http://www.klaudiamarrgallery.com/

Recent purchases include:

Kenney Mencher

"Two Schools"

David Malan

"Caught Unaware"

Robert Batterton

"Basil"

12th Annual Realism Invitational at Klaudia Marr Gallery. http://www.klaudiamarrgallery.com/

Recent purchases from this gallery include:

Dan Griggs

http://www.thescreamonline.com/art/art2-4/griggs/

"Dream Scape with Red Poppy"

ARTIST'S STATEMENT:

I was born in Las Cruces, New Mexico. For as long as I can remember I have always been fascinated by the process of drawing and painting. In 1974 I met two well respected artists: Siegfried Hahn and Howard Wexler, with whom I trained and studied over the next few years. Mr. Hahn studied at the Royal Academy in London and the Ecole des Beaux Arts in Paris in the 1930’s, and Mr. Wexler at the Pratt Institute. Through them, I was exposed to the drawing precepts of Lecoq de Boisbaudan, whose disciples included Rodin, Monet, Whistler, and Degas as well as the oil painting mediums of the late Jacques Maroger. I was trained both in oil and watercolor. The watercolor approach I employ arose from the 18th century Norwich School in England, and produced such great watercolorists as Cotman, Turner, and Girtin. I was also trained to use the Maroger mediums with my oils. The mediums were developed by Jacques Maroger who spent most of his life dedicated to reconstituting the lost painting mediums of the Renaissance and Baroque painters.

I have always drawn and painted exclusively from life whether it be a model, still life, or landscape. I do not work from photographs. My procedure is to establish the composition in the first one or two sittings with the model. This will involve several small pencil sketches to establish the flow of the composition—the major lines and shapes, both positive and negative. After the composition is established I execute a drawing in pencil on butcher paper. This is done quickly, with no thought to detail, to basically establish the size of the canvas. After the canvas is prepared with a tinted lead ground, I begin drawing again on the prepared canvas with charcoal. After the charcoal drawing is finished, I go over the drawing again with pencil trying to improve the charcoal. Once this is done, I begin laying in the paint again trying to improve upon what has gone before. I try to impart the illusion of detail with as few brushstrokes as possible. I think that “less is more.”

I believe that working from life imparts a greater vitality to one’s work. I admire greatly the old Masters and their love of painting and dedication to the job—painters such as Velasquez, Titian, and Mantegna. I feel that many of the sound principles of draughtsmanship and painting from that era have been lost or forgotten. I also believe that they could extract, paradoxically, the widest range of expression from the simplest of means. They were masters of color, form, tonality, and draughtsmanship. I, in my own working habits and in my own very small way, am trying to emulate their example.

I’m interested in exploring the human form in different manifestations using veils, masks, and other props combined with dramatic lighting to slightly skew the visual experience. I suppose I’m trying to paint what’s inside the model, i.e., the emotional and psychological underpinnings. I also hope my work evokes emotions within the viewer, a visceral and/or intellectual response which at times might even be disturbing.

I feel myself to be in a long line of painters, beginning around the 15th century, who have employed the same materials and techniques. I relate to the “Old Masters” and Renaissance painters. Perhaps one could say that I am trying to explore the psychology of the modern day via the Old Masters’ approach and palette.

Tony Chimento
http://www.chimentostudio.com

"Bowl of Simpsons"

ARTIST'S STATEMENT:

As a young man in college I was encouraged to accept the notion that art could only be valid if it somehow "pushed the envelope". To be avant-garde and new seemed by far the most important criterion to my professors. However, it seemed to me that once that art-historical- time line ended in the late 60's with the minimal artists and the final blank white canvas, then the whole idea of artists making marks on canvas should have ended along with it. As we all know it didn't. For me, that began to erode the power that the so called "Avant-Garde" held in my thinking about my validity as a realist painter and opened the door for new ways of thinking about art along with my own self- respect as an artist.

The question for me then became: Why was it so important to be an artist? If not the new, what was my work to be about?

Initially, I was insecure about the answers that I slowly felt forming inside me with each new painting I completed. Allowing the work to talk to me, I began to be aware on a conscious level of something which was always there intuitively: that my work is mostly about the exploration if beauty and the space we make for its contemplation. In a world where the ugly and violent seem increasingly more intense, the exploration of beauty and serenity, not as escape, but as antidote certainly must be as valid a reason for making art as there could be.

Earlier on, when I felt that if the finished painting was beautiful and special to me, then I succeeded no matter how difficult the journey might have been. As I learn more about the process of painting, I'm finding the process has its own beauty, that of becoming,so that painting itself can be seen as a metaphor for what is best about life. that of becoming, so that painting itself can be seen as a metaphor for what is best about life.

Jennifer Nehrbass

http://www.jennifernehrbass.com

"The Golden Mean"

Julia Hunkins

"The Stockbroker"

11th Annual Realism Invitational at Klaudia Marr Gallery. http://www.klaudiamarrgallery.com/


Recent purchases from this gallery include:

Aristides Ruiz "Brooks"

Jaime Valero Perandones

http://www.jaimevalero.com

"Water and Skin"

Kent Wing "The Watcher"

Suzy Smith "Anna Beth II"