Robert Cumming is one of contemporary art's most enduring conceptualists.
Debra Vodhanel's figurative watercolors are a strange combination of art historical appropriation and risky experimentation.
Ciro Beltran Hidalgo is a native of Chile where he works as a teacher to support his ambitions as an artist.
Add Ralph Steadman's grotesque illustrations to Hunter S.
If Hans Arp had ever lived among the Pueblo Indians and produced Native American artifacts, the results might have resembled John Lawrence's alabaster and clay sculptures.
Like Georganne Dean and Gary Panter, L.A. artist Hudson Marquez converts the cartoonist's aesthetic into fine art.
Mixed-media work by Richard Ralph Roehl puts one in mind of a scene in the Wim Wenders film "Paris, Texas," featuring a crazed evangelist drunk on visions of Apocalypse.
An exhibition of new work by multimedia artist Daniel Martinez titled "The Human Condition" suggests that the artist sees said condition as being primitive at best.
Perusing an exhibition of sculptural assemblage by Michael Farber is like falling into one of those arcade machines filled with tiny prizes, one of which is plucked up by a miniature crane and delivered to you on insertion of a quarter.
Alice Fellows shows intriguing large-scale canvases of tightly packed, amorphous blades and vines in tropical hues.
Mary Jones has traveled a considerable aesthetic distance from her spooky silhouettes of gigantic patterned animals, done about five years ago, to her cryptic architectonic paintings of the present.
Dutch artist Anthony Ausgang hasn't figured out exactly what he wants to say in his work, but he seems to be having a good time sorting through the possibilities; his pictures bristle with a yelping zest that suggests he takes pleasure in the physical act of painting.
New York artist Jedd Garet helped popularize the Post-Modern idea of "bad" painting as a legitimate aesthetic, and he buffs that idea to a high gloss in this graphic work exploring cliches concerning art, the future and loneliness.
Since 1983, Barbara Strasen has been developing an ongoing series of paintings that she refers to as "Empathy Portraiture."
Jay Willis' former sculpture has worked through conflicting dualities, in particular a predilection for electric color and gestural flair set against stolid Contructivist principles, where line, geometry and the sanctity of materials usually manage to keep his decorative impulse in reasonable check.
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Martin Gunsaullus paints well enough that he could afford to dispense with the gimmick that's currently gumming up his pictures.
Janice DeLoof's work is about her relationship with her family, the place she lived as a child, and her present home.
A 10-year survey of metal wall constructions by the late Steve Kingman reveals an austere sensibility that was in the process of opening into an exotically baroque bloom.
A free-wheeling installation by Jim Lawrence puts one in mind of the small-town kook who converts his front yard into some kind of manic vision whose meaning is known only to him.