Sean Kratzert

Sean is a self-taught artist and multi-instrumentalist that currently makes work on the CT shoreline. He is informed by his passion for art history and contemporary art, as well as his experience working with materials as a carpenter and house painter. This has led to Sean’s deliberate use and misuse of materials in the studio through painting, collage and sculpture. By mixing paints that don’t mix and allowing organic works to form, he can lend to the idea of an object growing (or decaying) in time and space.

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Edvins Strautmanis

Edvins is no longer with us- Smythe-McKee represents his estate (as they do with several other estates). He was born in Latvia in 1933 and after World War II emigrated with his family to Chicago in 1950. Strautmanis graduated from the School of the Art Institute of Chicago and began exhibiting in 1965. After an exploratory hard-edge period in Chicago, working on paintings, sculptures and monotypes.

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Sterling Ruby

Sterling has some new paintings up in NYC that I am seeing all over the ‘gram and it’s not hard to see why.

Ruby is an American artist who works in a large variety of media including ceramics, painting, drawing, collage, sculpture, video, and textiles. Often, his work is presented in large and densely packed installations. The artist has cited a diverse range of sources and influences including aberrant psychologies (particularly schizophrenia and paranoia), urban gangs and graffiti, hip-hop culture, craft, punk, masculinity, violence, public art, prisons, globalization, American domination and decline, waste and consumption.

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Jacqueline Humphries

After a 2005 fire in her studio, Humphries produced the first of her scintillating “black light” paintings, which radiate wild, ghostly neon colors in dark rooms under ultraviolet light—not a technique that one sees contemporary artists using very often. “Fluorescent colors are very powerful, yet they were so bounded by these typical associations—African princess sex goddess, marijuana and magic mushrooms, Jimi Hendrix and the Doors, and that was kind of it,” Humphries said, sitting in a backroom at Greene Naftali, her longtime Chelsea gallery. “I grew up in the ’60s, so I was into it. Why not take something like that and see if you can make serious abstraction with it?” More

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