Richard Denny

Richard DennyRichard Denny is an artist who experiments with a range of materials His "portraiture" work called The Visitors takes a journey. The Visitors arrive from all directions – along pathways, alleyways and major arteries, through mountain passes, across seas, arid deserts, fertile pastures, the sky, through doors and sometimes the mind.  Employing a layered mixed media approach, he has combined enamel, acrylics and irregularly shaped pieces of painted cut canvas with detailed regional maps from around world. These dynamic works are stapled and fixed onto paper, wood and old doors.

Denny is a Melbourne-based artist whose dynamic work contains mixed media including detailed vintage maps from around the world, gleaned and collected on his numerous travels and habitations. Since his departure from photography as his primary chosen medium in 2008, his work has been exhibited in London, Barcelona, Sydney, The Gold Coast and Melbourne.

Claudio Parentela

Claudio_parentela_painting_381Claudio Parentela is a mixed media artist whose work crosses from cartoon to low brow art.

Born in Catanzaro, Italy where he lives and works, Claudio Parentela is an illustrator, painter, photographer, mail artist, cartoonist, collagist, journalist free lance. Active since many years in the international underground scene, he has collaborated with many zines, magazines of contemporary art, literary publications and comics in Italy and in the world

Larry Zox

Larry Zox Larry Zox achieved art world prominence in 1973 as the subject of a major solo exhibition at the Whitney Museum of American Art. In the catalogue to that exhibition curator James Monte writes that these earliest collage works are “extremely graphic and take advantage of spatial jumps alternately back into an illusionary picture plane and forward into the viewer’s space.”

Zox’s signature style – the splicing of a color field to give the sensation of shifting planes – was pivotal in these early collage paintings, and evolved into the graceful looping patterns of his later work. These collage paintings reveal the individualism and brio that are the hallmarks of Zox’s contribution to American art.

Maira Kalman

Crosstown-Boogie-Woogie Maira Kalman Working as an illustrator, author, and designer, Maira Kalman illuminates contemporary life with a profound sense of joy and a unique sense of humor. 

Kalman speaks of her work as a form of journalism. She uses writing and drawing to render an ongoing account of the world as she sees it. Hers is a daily discipline of creativity based on photography, travel, research, walking, talking, and open observation. A serious love of distraction pervades. Abundant depictions of fashion, food, art, and architecture represent life’s great pleasures. At the same time rubber bands, pieces of moss, bobby pins, and snacks stake a claim for smaller forms of satisfaction. All of this might seem pretty trivial were it not for the counterweight of history, memory, and loss that is also ever-present. Chaos is another constant, be it crazy and madcap or simply devastating.

Indeed, it is her work’s gift to illuminate those things that affirm our own capacity for joy, sadness, humor, charm. In short, Kalman’s art inspires our humanity in light of life’s overwhelming events and details.

Maira Kalman (b. 1949 Tel Aviv, lives New York) is the author of twelve children’s books including Ooh-la-la (Max in Love). Among her adult classics are The Elements of Style, an illustrated edition of Strunk and White’s timeless grammar, and The Principles of Uncertainty, a picture book of essays based on a yearlong online column for The New York Times. She has just completed a second online epic for The Times titled And the Pursuit of Happiness.

Kalman’s best known work, created with fellow illustrator Rick Meyerowitz, is New Yorkistan: a cartoon map of the city designated by tribes, such as Pashmina, Irant, and Irate. When it ran on the cover of The New Yorker in December 2001, it sanctioned a first burst of laughter in the aftermath of 9/11. A relatively more secret aspect of her identity is as the “M” in M&Co, the revolutionary design firm founded by her late husband, Tibor Kalman, with whom she was a constant collaborator. The firm’s famous 10-One-4 watch is based on one of her doodles. She has collaborated on projects with the fashion designer Isaac Mizrahi, the choreographer Mark Morris, and the composer Nico Muhly. Her work can be seen in The Jewish Museum .

Kurt Schwitters

Kurt schwitters Born in Hannover, Germany, Kurt Schwitters (1887–1948) is one of the most influential artists from the interwar avant-garde. During a period of social and economic turmoil, he developed a unique practice, one that merged art and life, embraced disparate media and utilized found objects and printed materials, most of them the discarded remnants of everyday life.

In 1919, Schwitters named this body of work Merz—a neologism derived from the German kommerz (commerce)—which culminated in a series of collages, assemblages, experimental poems, prints and sculptures; the most famous being the Merzbau, a three-dimensional environment the artist began in the 1920s. Schwitters’s work bridges some of the period’s most important artistic movements, including Expressionism, Dada, Constructivism and Abstraction. Schwitters exerted a profound influence on artistic developments after World War II; Robert Rauschenberg and Jasper Johns, among others, considered him a source of inspiration, and contemporary installation art is inconceivable without the Merzbau.

Schwitters was trained as a painter, and despite his experiments with other media, he never ceased painting. Indeed, painting informs almost all of his work, as witnessed by the passages of gouache, chalk, oils, paste and watercolor in his collages and assemblages—additions that transform the materials they cover.

William Steiger

William steiger William Steiger's pared-down views of mills, factories, railcars, water towers, and landscapes offer neither judgment nor sentimentality. Drawing on the collective memory of an imagined future, Steiger employs expert editing to create clean, seemingly objective icons of often-romanticized elements of the industrialized world. Devoid of traditional landscape signifiers-a clear horizon line, shadow or ground-the paintings take on a surreal clarity, as if one sees the iconic objects of this collective memory in a newer, purer light. His steadily painted lines, just shy of the draftsman's fabricated vector, are imbued with a human quality that coaxes the viewer past the unsettling realization that the buildings are in fact abstracted geometric forms floating in space, and into a comfortable intimacy with the subject at hand.

Steiger also creates collage. In experimenting with the translation of his imagery to the assemblage of small pieces paper, Steiger found a new range of possibilities. He explains, "The materials and tools of the medium-paper, knife, and glue-allow me limited means to create pictures that emphasize their cut-out nature while forming complete multi-dimensional worlds." The artist's volumetric and perspectival spaces are contradicted by his emphasis of a flat picture plane, and it is the resulting tension and visual play that is his ultimate objective.

The work evolved from allowing the collages and paintings to interrelate. Richer and more complex than their starkly gessoed counterparts, the collages combine elements of found paper, navigational charts, marbled endpapers, maps and text, yet maintain a fidelity to the classic Steiger imagery. In turn, the new paintings have begun utilizing the layering elements of the collages; in Flyover, an airplane navigates over parceled farmland, in Luftseilbahn a tramway appears to hover over a snowy mountain.

William Steiger received an M.F.A in painting from Yale University in 1989. His works have been shown extensively in the United States, and included in exhibitions in Europe and Korea. Pace Editions recently published a new print by the artist. Steiger's works can be found in many prominent corporate and private collections.

Jockum Nordstrom

Jockum Nordstrom Enthusiastically bizarre, Jockum Nordström has emerged as the latest in a long line of deadpan Absurdists, here marrying Dadaist peculiarities with northern European folk art. In intricately worked pencil drawings and rough-hewn, child-like collages Nordström reiterates his favourite subjects: guitars and pianos, horses and owls, three-masted tall ships, top-hatted characters from 17th-century morality tales. Lumpen bodies with oversized heads stare tranquilly as bits of naked bodies peek out of a closet; a woman smiles with comic blankness, although her eyes are half-way down her face. Sex is everywhere – gleefully, weirdly and variously depicted in a facile but charming contrast to the works’ old-fashioned aesthetic.

Best-known for his collages, the Swedish artist draws sympathetic figures, props and background decorations for his scenes, then cuts them out and shifts them from piece to piece. He creates several at a time, and weaves the clippings, rag-rug-style, into the background of later works. Even taken individually, his pieces thus intimate their participation in a larger oeuvre – one that, if you had the chance to see it, might explain the strange couplings and goings-on in these tableaux.

Like a number of artists working in illustrative media – Neo Rauch or Amy Cutler, for example – Nordström balances representational elements with a barrage of disjunctions: doses of Surrealism, logical incongruities, rifts between form and content, unexplored allusions.

Mac Premo

Mac premo MAC PREMO is an artist who is immersed in the ongoing exploration into Systems Theory. That is, the interdependence of systems in nature, society and science. In the first two parts of an ongoing series aptly titled Understanding Everything, Premo looks to the innate human impulse to order and understand the world through the organization of systems. The myriad ways in which these distinct vocabularies interrelate, be they systems of physical (e.g. mathematics, science, etc.) or emotional data (e.g. memory, morality, etc.), is the primary subject of his meticulously crafted objects of wood, found objects and collage encased in poured resin. 

Premo’s work also explores the cyclical nature of systems in works that reference not only the physical process of art making, but also the transport and presentation of art. The exhibition includes a short animated film work in which the artist’s distinct style is expressed in a dynamic sequence of collage-like imagery. Mac Premo has been exhibiting his work since 1999, most recently at the Brooklyn Academy of Music and PS1 MOMA in Queens.

Anastasia Elias


 Anastasia Elias is an artist whose medium might be considered a bit unusual. “I cut the small paper shapes that I stick inside the toilet paper rolls. I use tweezers to manipulate the paper shapes. I select the paper of the same color as the roll. It gives the illusion that the paper figures make part of the roll. I need few hours to make one piece.”

Anastasia Elias, just like Andrea Dezso with her tunnel books, uses paper in three dimensional stage-like misenscenes. Elias' work is unusual in that it creates silhouettes that change with the use of light.

Fran Forman

Fran forman Fran Forman studied art and sociology as an undergraduate at Brandeis University and then received an MSW, working for several years with heroin addicts. Discovering that she could indeed earn a living in the arts, she entered Boston University’s School of Fine Arts where, specializing in photography and graphic design, she received her MFA. 

She has held a succession of positions in the field of illustration and design: branding, print, and signage for corporate, arts, and retail establishments; CD-roms for books, museum installations, sales and training; book cover illustrations; animations, multimedia, and web designs. Additionally, she was Senior Designer with AOL Time Warner, where she was designer of the preeminent web site devoted to African American culture and where she produced photo illustrations for the daily editorial content.

Between professional life and raising two daughters, Fran continued to create her personal art, combining her illustrative and photographic skills with a passion for surrealism, paradox, illusion, assemblage, and the dislocations of time and place.

Fran is a Resident Scholar at the Women’s Studies Research Center at Brandeis University. She is also a recipient of grants from the Sassower, the Tyre, and the Pufflin Foundations, for 2006, 2007. and 2008.

She has won numerous awards and prizes; most recently she won 1st and 2nd place in the Fine Arts sub-category for Px3 Prix de la Photographie (2008 and 2007 respectively); she was a fourth place winner in the Adobe sponsored Photoworkshop.com; and she was a finalist for an Ultimate eye Foundation grant. And at the International Photo Awards 2008, she won 2nd place for Collage and Honorable Mention for Digitally Enhanced.

Her work is in the permanent collections of the Museum of Fine Arts, Houston and the Griffin Museum of Photography.