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Ben Mata |
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My works explore complex
relationships between painting and sculptural
elements; bringing non-objective two dimensional
space and three dimensional objective forms to exist
in a unified work of art.
Click images for larger view. |
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"untitled
blue" by Ben Mata oil on aluminum |
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"untitled
orange" by Ben Mata oil on aluminum
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Louis Vega Treviño |
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Louis Vega Treviños painting is something of a
paradox: balancing cool analysis with a hot pursuit
of color relationships in which he blurs the
distinction between color, line and form such that
those elements seem to merge and deconstruct in an
astonishing blend of earthy umbers, ochres and
sienna’s deployed against jewel-like hues that are
only primary in relation to one another. Treviño’s
daring approach to color relations breaks new ground
in the history of colorists, a tradition in which he
is rapidly establishing a secure and intriguing
position.
Click images for larger view. |
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16 - oil
on canvas, 36" x 46" |
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17 - oil
on canvas, 24" x 48" |
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18 - oil
on canvas, 36" x 36" x 36" |
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Behind the Latin American scene with Director
of the
San Antonio Museum of Art, Marion Oettinger, Jr.,
PhD |
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Click images for larger view. |
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Self
Portrait
Jose Maria Vasquez, Mexican, 1770 - 1825
c.1800
Oil on canvas laid on board
16 7/8 x 12 3/4 inches
Purchased with funds provided by the Latin American
Acquisitions Fund
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Archangel Michael (El Arcangel
Miguel)
Attributed to Juan Correa, 1645 - 1716
late 17th century
oil on canvas
San Antonio Museum of Art, gift of Louis James
Juan Correa was one of the
most important painters of the Mexican Baroque
period. The son of a prominent mulatto doctor from
Cadiz and a free black woman from Mexico City, he
lived a long, productive, and prosperous life in New
Spain. He made more paintings for the Mexico City
Cathedral than anyone else, and his work was sent as
far away as Guatemala and Rome. This painting of the
Archangel Michael shows him dressed in the uniform
of a Roman soldier, a militant defender of the
faith. Saint Michael is head of the Heavenly Host
and an intermediary between heaven and earth.
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Lawrence Jennings |
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I
strongly believe that abstract painting can still be
a contemporary, viable, and exciting field of visual
culture despite its misguided reputation of not
being “cutting edge.” My current projects have
included wall paintings, videos and installations of
abstract works that are based in the visual language
of painting. Although I consider my work as
painting, I have used shaped acrylic sheet,
laminate, and skateboards as materials in my work.
The fluidity of fractal geometry and abstraction
have been ongoing threads in my work as seen in my
use of video-feedback patterns, frozen in time, and
enlarged into a wall-painting. These experiments
with time and space are used to try to make the work
less predictable and mannered.
Some details that may not be evident in the image
samples are material textures and reflective
properties. The grip-tape material found on the top
of skateboards is made of black sparkling grit that
is abrasive to the touch. When seen in the context
of highly polished plastic or painted surfaces, it
stops the viewer’s eye movement like a visual grip.
Click images for larger view. |
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"Black
on Black" by Lawrence Jennings, Acrylic paint on
grip-tape panel |
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"Laminae"
by Lawrence Jennings, Grip-tape on Formica, MDF
panel |
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"Would
you like to come inside?" by Lawrence Jennings,
Acrylic, grip-tape on acrylic sheet |
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Robert Hughes Gallery |
Click images for larger view.
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Albert Kogel
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Every painting is a starting over, a tacit
recognition that after thirty years of painting I still don't really know how to make a
painting happen (which is different from knowing how to paint). I just know I can. I
know that if I give myself to the
painting, the magic usually comes and at that point
it's as if I'm no longer in charge.
The path is different with each painting no matter
how familiar I am with the process
involved or how much a new painting has in common
with previous paintings. Each new
painting presents its own surprise as it develops
and I find these events very
compelling and very much like life.
Albert Kogel received his BFA and MFA, University of
Arizona in Tucson and attended Freie Kunstschule,
Munzigen, in Germany. Today, he is an art professor
at Cochise College. His work is hangs in the
permanent collections of the Museum of Art in
Tucson; Streich Lang, Tucson; Union Gallery,
University of Arizona, Tucson; University of Arizona
Residence Halls, Tucson; and Museum of Texas Tech
University, Lubbock, TX. His works has been included
in numerous exhibitions over the years. |
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Bird and
Head, painted wood assemblage, 29"x36"
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Vanity, painted wood assemblage
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Bill Gingles |
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Click images for larger view.
Every painting is a starting over, a tacit
recognition that after thirty years of
painting I still don't really know how to make a
painting happen (which is different
from knowing how to paint). I just know I can. I
know that if I give myself to the
painting, the magic usually comes and at that point
it's as if I'm no longer in charge.
The path is different with each painting no matter
how familiar I am with the process
involved or how much a new painting has in common
with previous paintings. Each new painting presents
its own surprise as it develops and I find these
events very
compelling and very much like life.
Bill Gingles
received his B. A. in Fine Art in 1979 from
Northwestern State University in Natchitoches,
Louisiana. He has had a number of solo
exhibitions and his work has been included in group
shows across the country His work was featured in
New American
Paintings, Number 22, June/July 1999. Gingles
received the 2004-2005 Shreveport Regional
Arts Council Fellowship Grant. Today his work hangs
in private collections across the country. |
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The
Golden Game, acrylic on canvas, 16"x12" |
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Backyard
Isis, acrylic on canvas, 16"x12" |
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Reverie,
acrylic on canvas, 46"x60"
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