Signed: Alyssa Monks 2006 (on lower back of canvas)
Exhibited: DFN Gallery, New York 2006
Illustrated: American Art Collector, May 2006, p. 155
H: 30” x W: 56”
“Push” is somewhat of a response to the long tradition of bathtub paintings where a nude woman is displayed. However, the figure is me, the painter, so that the subject is also the artist, juxtaposing the objectification of women in that tradition. Also, the figure wears a black negligee and red lipstick, white makeup gently drips down the cheek, closing the door on naturalism.
At the New York Academy of Art, Alyssa Monks studied with Vincent Desiderio, Wade Schuman, Brenda Zlamany, John Jacobsmeyer, Harvey Citron, Deane Keller, Edward Schmidt, Steven Assael, Lisa Bartolozzi, Patrick Connors, Peter Cox, Jon DeMartin, Leonid Lerman, and Hong Nian Zhang. Alyssa’s sensibility of paint and color allows one to be seduced into the illusion of each image. Striving for anatomical and realistic accuracy, it is her intention to elicit a serious confrontation. The work requires attention to detail and a slow and rich execution. It is this artist’s concern to visually relate the contemporary human experience with sensitivity, empathy, and integrity.
Duggie Fields, “Girl with Shoulder Bag”, Oil on linen 1970
DUGGIE FIELDS (1945-) London, UK
“Girl with Shoulder Bag” 1970
Oil on linen, custom wood and green lacquer Shadow box frame
Marks: “Girl with Shoulder Bag”, Winter 1970 (Dougie Field)
Canvas: H: 72” x W: 36”
Framed: H: 74 1/2″ x W: 38 1/2″
Duggie Fields was born in 1945 and brought up in the village of Tidworth. He spent his youth in the countryside, moving to the outer suburbs of London in his adolescence. He studied architecture, briefly, at Regent Street Polytechnic before going to Chelsea School of Art in 1964 where he stayed for four years, before leaving with a scholarship that took him on his first visit to the United States. As a student his work moved from Minimal, Conceptual and Constructivist phases to a more hard-edge post-Pop figuration. By the middle of the 1970s his work included many elements that were later defined as Post-Modernism. In 1983 in Tokyo, sponsored by the Shiseido Corporation, a gallery was created specially for his show, and the artist and his work were simultaneously featured in a television, magazine, billlboard and subway advertising campaign throughout the country. He started working with digital media in the late 1990’s describing his work in progress as Maximalist. Selected One-Man Exhibitions 1971 Hamet Gallery, London 1972 Bear Lane Gallery, Oxford; 1975 Kinsman-Morrison Gallery, London 1979 Kyle Gallery, London; 1980 lkon Gallery, Birmingham; Midland Group, Nottingham; New 57 Gallery, Edinburgh; Roundhouse Gallery, London 1982 Spacex Gallery, Exeter; B2 Gallery London 1983 Shiseido Exhibition, Tokyo 1987 Albermarle Gallery, London 1991 Rempire Gallery, New York 2000 Random Retrospective, Virtual Gallery, DuggieFields Selected Group Exhibitions 1976 New London in New York, Hal Bromm Gallery, New York 1979 The Figurative Show, Nicola Jacobs Gallery, London; Masks, The Ebury Gallery, London; Culture Shock, The Midland Group, Nottingham; Art and Artifice, B2 Gallery, London 1983 Taste, Victoria and Albert Museum, London 1984 The Male Nude, Homeworks Gallery, London 1985 Image-Codes, Art about Fashion, The Australian Centre for Contemporary Art, Melbourne; VisualAid, Royal Academy, London l986 The Embellishment of the Statue of Liberty, Cooper Hewitt Museum/Barney’s New York 1987 Twenty Artists Twenty Techniques, Albemarle Gallery, London 1989 Fashion and Surrealism, Victoria and Albert Museum, London 1988 Het Mannelisknaakt, Gallery Bruns, Amsterdsm, St. Judes Gallery, London 1990 Universal Language, Rempire Gallery, New York 1993 Tranche d’Art Contemporain Anglais, Tutesaal, Luxemburg 1998 Exquisite Corpse, Jibby Beane, London 1999 Art 1999, Jibby Beane, London; Flesh, Blains Fine Art, London Nerve, I.C.A. London 2000 Art 2000, Jibby Beane, London Up &Co., New York
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