teresa booth brown

wyoming #29, 2010, oil and collage on paper, 11x30, wyoming #10, 2010, oil and collage on paper, 11x30, wyoming #4, 2010, oil and collage on paper, 11x30

fragmented fragments...see more here.

joan davis

ethereal garden, 2007, mixed media on canvas, 32x32, timeless imprint, 2006, mixed media on canvas, 61x61, sunset garden, 2007, mixed media on canvas, 32x32

art can simply just make you happy...see more here.

meghan wilbar

grand concourse 1, 2011, oil on linen, 32x40, union, 2009-10, oil on linen, 32x48, grand concourse 5, 2011, oil on linen, 32x40

more love on the landscape....see more here.

bernhard edmaier

lake constance, 2002, lake constance, south germany, former kettle holes, 2001, mecklenburg-vorpommern, eastern germany, ice covered ostersee, 2002, southern germany

earth's graphic paintings....see more here.

Jeong Eun Lee

msg party, 2011, oil, enamel on canvas, 95x65, cupcake, 2011, oil, enamel on canvas, 30x30, metabolism, 2011, oil, enamel on canvas, 23x17

slippery, drippery drops of color...see more here.

sunday church drawing

flames....

patrick kelly

all: carbon traces series, pencil on paper

velvety black friday...see more here.

happy thanksgiving!!

laura miller, autumn leaves, 2012, acrylic on canvas, 24x24

food, family, fun, fall...holiday blessings to you all...see more here.

alexis avlamis

duality, 2010, mixed media on canvas, 200x200cm, come in, 2010, colored pencils, watercolor, oil pencils, acrylic on paper, 160x170cm, phantasmagoric I, 2010, mixed media on paper, 80x80cm

topsy-turvy, color worlds....see more here.

kelly o'brien

sorry, no info for these pieces.

I create works that raise questions rather than statements, with curiosity for uncovering cultural associations through artistic applications. Assumed conflicts are resolved when the viewer discovers subtle details that could be overlooked due to intensity of colors and bold structural forms. My work gives validity back to discredited material with support from tried and true forms and media, causing conversation with image, object and material.

...see more here.

john lyon

sorry, no info for these pieces...

I’m not trying to convey a specific idea or concept. I’m more interested in creating a visual phenomenon.  I want the finished product to be surprising more than I want it to be resolved.  I’m painting them like a D.J. who is playing his own songs.  My objective is to create something unexpected using different combinations.

...see more here.

sunday church drawing

straws of gold...

ahmet civelek

#7, 2008, #4, 2008, #8, 2008

sweet texture...see more here.

elissa levy

spin (newly born), 2011, newspaper, gouache, gel pen, spray paint, 37x32.5, bad boys turn to the bible, 2010, newspaper, gouache, gel pen, spray paint, 20x19, flag (the fans' affection), 2011, newspaper, gouache, gel pen, spray paint, 30x34

The dominant images in these works use images of athletes, politicians, celebrities and soldiers, cut from newspapers; magazines. The figures are abstracted by excising them from their original context, concentrating on the cores of the bodies, so that the limbs are visually amputated at the elbows & knees. Thus the figures are altered into ghost-like apparitions. This evokes both the amputees returning from war; the phenomena of "phantom limbs," the reported sensations that amputees feel in the parts of their bodies that are no longer there. The energy in the original is subsequently halted, mid movement, yet lingers, as in a dream.

see more here.

Julie Davidow

the new strain #2, 2008, gesso, acrylic, latex enamel, enamel paint on canvas, 48x48, the new strain #3, 2008, gesso, acrylic, latex enamel, enamel paint on canvas, 48x48, the new strain #9 (from arcade/mehretu), 2009, gesso, acrylic, latex enamel, enamel paint on canvas, 60x60

The Diagrams Series seeks to establish order through the mapping of multiple visual cues. These cues include specific, compositional samples of the architecture of contemporary art museums and the contemporary art that is enshrined within these structures. This sampling is achieved through a diagrammatical folding and scoring of the raw canvas, creating an allegorical foundation for the structure of painting. Space, organization, pattern-seeking, discerning solution are all explored in this most recent series of paintings.

see more here.

ben weiner

untitled (oil paint), 2005, oil on paper, 40x60, untitled (oil paint), 2003, oil on canvas, 40x60, queen juno, 2011, oil on canvas, 40x60

paint paintings...see more here.

edie nadelhaft

flesh field no. 4, 2011, oil on canvas, 24x24, big biter no. 3, 2008, oil on canvas, 36x36, senor wences (flesh field I), 2009, oil on canvas, 24x24

I am fascinated by the physical world and the freedoms and constraints of existing in a finite physical state. There is, to put it mildly, a quality of unruliness about this predicament...Through a dramatic distortion of scale and perspective, tiny, seemingly insignificant things are transformed into rich sensual landscapes.

see more here.

sunday church drawing

cross bronx expressway turns into beautiful....

amy archambault

the additive process of wreckage I (detail), 2010, acrylic on luan, 24x48, untitled I, 2009, oil and acrylic on paper, isolation, 2010, oil and acrylic on canvas, found object, 44x68

I search for liberation and physicality in my work and do this by probing my desire to utilize my innate athletic ability. Detailed instructions and choreographed gestures are vital to my mission. The unconventional attachment of materials and manipulation of the canvas in earlier work induced several measures taken in order to heighten my physical arousal. Having no previous experience with a constructive language, I welcome my role as the unconventional engineer. 

see more here.

chris trueman

mm, 2011, acrylic on canvas, 48x40, burley, 2010, acrylic on canvas, 78x66, untitled blue/pink, 2010, acrylic on canvas, 96x60

chunky, explosive, paint....see more here.