Satire (5)

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Browse 5 Satire Sculptures artworks for sale. Contemporary artists: Chad A. Carino, Dana Zivanovits, Carol Griffith offering Sculptures artworks. Links to more artworks by these contemporary artists and 1 pages for Sculptures and further artists at the bottom of this page. To view a work by any of these contemporary artists simply click on the image or browse the artist's portfolio. To buy any of the art below click on the image to go to a more detailed page about this work of art.


Contemporary Art / Sculptures / Previous / Next
Chad A. Carino: 'Say No to Drugs', 2008 Watercolor, Satire. Artist Description:  It's a slippery slope. ...
Satire - Watercolor
18 x 24 inches (45.7 x 61.0 cm)
Dana Zivanovits: 'LADY GRASSHOPPER', 2006 Watercolor, Satire. Artist Description:  Watercolor on Arches all cotton acid free paper- a signed and dated Zivanovits original ...
Satire - Watercolor
9 x 10 inches (22.9 x 25.4 cm)
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Carol Griffith: 'The Environmentalist', 1992 Watercolor, Satire. Artist Description: A narrative portrait of a high stakes player...
Satire - Watercolor
14 x 22 inches (35.6 x 55.9 cm)
Carol Griffith: 'The Politician', 1992 Watercolor, Satire. Artist Description: Portrait of a high stakes gambler...
Satire - Watercolor
21 x 14 inches (53.3 x 35.6 cm)
Carol Griffith: 'Breakfast of Champions', 2005 Watercolor, Satire. Artist Description: I watch the news too often. ...
Satire - Watercolor
30 x 22 inches (76.2 x 55.9 cm)
(Page 1 of 1) - MORE ARTWORKS

Artists Describing Their Art:

Chad A. Carino - A quality which defines the life of any urban artist is the visible entropy surrounding us in the form of decay and despoilation of the desolation defining post-industrial urban America. Simply put, we live in darkness. This quality bends and controls me, defining my work, decaying into darkness and chaos. A solid idea will find itself dissolving into a series of dark scribbles, and a simple concept will belie its ultimate complexity. These images find themselves hovering between unconsiousness and depression; ultimately, cold, dark, and dead, like any planet or person....

Dana Zivanovits - Dana Zivanovits was born in 1958 in Columbus, Ohio and received his art training from the Columbus College of Art and Design (1978 to 1982). After art school, he went abroad for a year and studied the art of the old masters in London, Paris, Madrid, Rome and Venice. Returning to his studio in Columbus to develop these influences into a new body of work, he then traveled to Mexico and studied the sculpture and painting of that country for an extended period. The unique and vivid colors of Palenque and Vera Cruz intensified his palette. After a period in Ohio, he then moved to Venice Beach, California where the brilliant light of the region reinforced his desire to capture effects of sunlight and atmosphere. Returning to Ohio in 1995, he has continued to paint themes deriving inspiration form sources such as world mythology, classic and B-grade cinema, literature and dreams. However his primary inspiration is direct observation from nature, versus an approach based in art theories or cultural critique. Dana has been widely represented by galleries and exhibition projects including Julie Rico and Mega Boom in Los Angeles, the Venice Art Detour, Around the Coyote Festival in Chicago ...

Carol Griffith - My oil paintings are meditations triggered by places or situations in my memory, arrived at through a sort of daydreaming state of mind. I attempt to evoke that mood in the handling of the formal elements of the painting, especially the color and the perspectival point of view. I wish to create both a believable place and the sense of something more significant behind it. The viewer, in contact with the painting and their own memories, may then project into the space and experience the significance that I sensed. This approach has led me to an interest in souvenirs. I see them as an attempt to capture a special place or experience in concrete or symbolic form. By doing paintings of my own remembered places and experiences, I have been following a parallel path. I like the comparison with one purpose of art. I use borders in some of the paintings to function simultaneously as framing devices and as an arena in which to create a dialogue with the internal painting. The borders also extend the meaning of the internal subject. Memories often consist of simultaneous kaleidoscopic vignettes that, in combination, embody the whole, original experience. Each vignette is also ...