Serigraphs

Artists Describing Their Art:

Zinovy Shersher - When I emigrated to the US, I was not allowed to take my paintings with me - by the Soviet government. They said to me you are professional artist, you studied inRussian University, so everything youve created belongs to Russian people. So when inNew York I could not show anything Ive created to the American galleries. But aftervesting many of them in NY, I was amazed by the variety of different schools and styles of art in Dmerica, it was a firework of colors, manners, techniques, I realized that I had to find my own style, own motives in my art, I was glad that Ileft everything I created before behind. It took me 3 full years to create a new group of work, 6 years to find my own style,- modern, contemporary with great school and techniques I got from Russian school and a course in School of Visual Arts in NY. I started to create paintings and realized that I have basically 2 themes in my paintings Music and Love. SInce I am a musician and composer myself, I studied violin in childhood, I realized that the violin touches the most sensitive nerves and feelings in the human body, ...

Stewart Moskowitz - For too long, man has been unable to strike a balance between his needs and those of the other inhabitants of our planet, and has taken the planet for granted. Fortunately, we have realized how fragile our earth is, and we have begun to accept the shared relationship between man, nature and all things under the stars. I explore my own special vision of our world through my art, using characters in unique, yet humorous ways to express my whimsical reality. Combining a mastery of color and technique, a Moskowitz canvas, though fanciful and fun, provides an insight into our society, leaving a positive impact on its viewers. I believe that the bedrock of the Universe is based on loving cooperation. This is a given quality in life itself. My work exemplifies this belief. Stewart Moskowitz...

Frank Shifreen - My art is about the power of the image to bypass the limitations of the self, controlled through language and its paradigms. The image is a life raft. The connection of the seer to the seen is the same as self to other , or me to you. Images, whether they be paintings, digital works or videos are gestalts, and embody identity. My art is about figure and ground that is transformed in many ways- materials, subject and meaning. I am a situationist and believe that art can create new paradigms for the future. It is a protected frame of content that can carry meaning, experimental ideas and projections. I have been a painter and sculptor, and still work in those media, but my primary form is now digital art and video, or hybrid combination. Besides being an artist, I have curated and organized many exhibitions, in New York. The Monumental Shows, Terminal Show (Co-curator), Pan Arts, Plexus. Recently curated "From the Ashes" 911 Memorials and "Ground Zero" at the Detroit Museum of New Art, and Freyberger Gallery - Penn State Berks Campus I am a Doctoral Candidate in Art and Art Education at Columbia University Teachers College...

E.c. Corbitt - E.C. Corbitt - The Comedian of Horror If one accepts the current Postmodernist perspective on the development of "modernism" in painting, several faulty assumptions about its history become evident. The popular view that painting passed through a series representational phases - Impressionism, Post-Impressionism, Fauvism, Cubism, etc., only to triumph in the achievements of pure abstraction, now appears historically naive and dominated by a Western European bias. Very few artists, whether in their vision or their work, have so successfully challenged the simplicity of this view as E.C. Corbitt. A few international painters - Francis Bacon, Paul Cadmus, Lucien Freud - while deeply influenced by trends in twentieth-century art, have also remained committed to representation of the human figure. Corbitt, who spent the last twenty-five years working in Europe, also retains the centrality of the figure, while incorporating aspects of the American art scene - the various forms of Pop, Op, and Conceptual Art - that consolidate his American experience and give his work a unique vision. His technical ability, use of colour, and refreshing sense of wit - combined with a healthy dose of sarcasm (derived, it appears, from an early exposure to Mad Magazine) - involve the viewer in a stimulating journey. ...

Youri Messen-Jaschin - From 1958 - 1962 his artistic studies lead him to the higher national school of fine arts student of Professor Arno Roberto Cami and to the Practical school of the Sorbonne, division of social sciences history of art, Professor Pierre Francastel in Paris. From 1962 until 1965, he went to the School of fine arts in Lausanne. He worked with the engraver and painter Ernest Pizzotti. A<> in 1964 with his kinetic glass and acrylic sculptures. He worked two years at the aEURoeCenter of contemporary engravingaEUR in Geneva. Then, he worked in Zurich, where he broadened his pictorial perspective with the painter Friederich Kuhn thru experience of the circle in the face. From 1968 until 1971, he acted at the University of HAPgskolan fAPr design Konsthantwerk in GAPteborg, where he created researches of textile kinetic objects. In 1967, he met at an exhibition in GAPteborgs Konsthall JesAos - Rafael Soto, Carlos Cruz-Diez and Julio Le Parc. Speaking with these artists, he discovered to be fascinated by optical art. He decided to devote all his research to kinetic art. An extended stay in GAPteborg gave him the opportunity to constantly evolve in movement and ...