Scott Daniel Ellison

Man Bat

2015

Oil and acrylic on panel Signed, titled, and dated, verso This artwork is offered by ClampArt, located in New York City. Since childhood Scott Daniel Ellison has had a fascination ...

Oil and acrylic on panel Signed, titled, and dated, verso This artwork is offered by ClampArt, located in New York City. Since childhood Scott Daniel Ellison has had a fascination ...

Oil and acrylic on panel Signed, titled, and dated, verso This artwork is offered by ClampArt, located in New York City. Since childhood Scott Daniel Ellison has had a fascination ...

Acrylic on canvas Signed and dated, verso This artwork is offered by ClampArt, located in New York City. Since childhood Scott Daniel Ellison has had a fascination with the unknown...

Farrokh Mahdavi (b. 1970, Tehran, Iran) is amongst the cutting edge painters of his generation in Iran, with his work being shown in over thirty exhibitions in Iran and abroad. Farrokh's works are easily distinguished with their unique pink hue and recognizable technique. As he once said about his portraits, Farrokh aims to reach “a more material meaning” by “omitting the impurities”, defamiliarization of known facial elements, and crossing over “cliché definitions”. Farrokh Mahdavi's work has been presented at the Iranian...

KEJ is a French artist born in 1959 who lives & works in Paris, France. He is considered to belong to the movement of Figuration Libre & Outsider Art. His works are referenced in the...

In this series, Emmett Merrill’s contemporary lithographs transform the culture of travel into modern mythology. Signed, titled, and dated recto Kansas City, Missouri-born artist E...

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the lower right, "Oliveira 64”. A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959. During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...