| |
Skip navigation
|
|
 |
|
|
|
 |
|
|
|
|
 |
|
|
|
 |
|
 |
|
|
 |
|
 |
|
|
 |
|
 |

TOP 200 ARTISTS OF THE 20TH CENTURY TO NOW
TIMES READERS AND SAATCHI ONLINE VISITORS VOTE FOR THEIR FAVOURITE ARTISTS
AFTER 1.4 MILLION VOTES WERE CAST, HERE ARE YOUR LEADING 200 ARTISTS:
| - | Pablo Picasso |
| - | Paul Cezanne |
| - | Gustav Klimt |
| - | Claude Monet |
| - | Marcel Duchamp |
| - | Henri Matisse |
| - | Jackson Pollock |
| - | Andy Warhol |
| - | Willem De Kooning |
| - | Piet Mondrian |
| - | Paul Gauguin |
| - | Francis Bacon |
| - | Robert Rauschenberg |
| - | Georges Braque |
| - | Wassily Kandinsky |
| - | Constantin Brancusi |
| - | Kasimir Malevich |
| - | Jasper Johns |
| - | Frida Kahlo |
| - | Martin Kippenberger |
| - | Paul Klee |
| - | Egon Schiele |
| - | Donald Judd |
| - | Bruce Nauman |
| - | Alberto Giacometti |
| - | Salvador Dalí |
| - | Auguste Rodin |
| - | Mark Rothko |
| - | Edward Hopper |
| - | Lucian Freud |
| - | Richard Serra |
| - | Rene Magritte |
| - | David Hockney |
| - | Philip Guston |
| - | Henri Cartier-Bresson |
| - | Pierre Bonnard |
| - | Jean-Michel Basquiat |
| - | Max Ernst |
| - | Diane Arbus |
| - | Georgia O'Keeffe |
| - | Cy Twombly |
| - | Max Beckmann |
| - | Barnett Newman |
| - | Giorgio De Chirico |
| - | Roy Lichtenstein |
| - | Edvard Munch |
| - | Pierre Auguste Renoir |
| - | Man Ray |
| - | Henry Moore |
| - | Cindy Sherman |
| - | Jeff Koons |
| - | Tracey Emin |
| - | Damien Hirst |
| - | Yves Klein |
| - | Henri Rousseau |
| - | Chaim Soutine |
| - | Arshile Gorky |
| - | Amedeo Modigliani |
| - | Umberto Boccioni |
| - | Jean Dubuffet |
| - | Eva Hesse |
| - | Edouard Vuillard |
| - | Carl Andre |
| - | Juan Gris |
| - | Lucio Fontana |
| - | Franz Kline |
| - | David Smith |
| - | Joseph Beuys |
| - | Alexander Calder |
| - | Louise Bourgeois |
| - | Marc Chagall |
| - | Gerhard Richter |
| - | Balthus |
| - | Joan Miro |
| - | Ernst Ludwig Kirchner |
| - | Frank Stella |
| - | Georg Baselitz |
| - | Francis Picabia |
| - | Jenny Saville |
| - | Dan Flavin |
| - | Alfred Stieglitz |
| - | Anselm Kiefer |
| - | Matthew Barney |
| - | George Grosz |
| - | Bernd And Hilla Becher |
| - | Sigmar Polke |
| - | Brice Marden |
| - | Maurizio Cattelan |
| - | Sol LeWitt |
| - | Chuck Close |
| - | Edward Weston |
| - | Joseph Cornell |
| - | Karel Appel |
| - | Bridget Riley |
| - | Alexander Archipenko |
| - | Anthony Caro |
| - | Richard Hamilton |
| - | Clyfford Still |
| - | Luc Tuymans |
| - | Claes Oldenburg |
TO SEE THE FULL 200 CLICK HERE
|
|
 |
|
 |
|
|
|
|
| Kevin O'brien |
| |
|
Born in the 50's, eventually influenced by abstract expressionism, be-bop, the beat, etc. Grew up in 60's, with rock and roll, high-energy jazz, etc.
 |
| |
| About the Artist |
Influenced by Van Gogh (and Abstract Expressionism), Rauschenberg, Klee, Dubuffet, children's art, surrealism, dada, pop art, jimi hendrix and high-energy jazz (e.g., Coltrane), etc.
I was awed and knocked to the ground by Van Gogh's art (especially when I saw it in person). It walks a thin line between markings on some surface that depict something, and tracing the flow of energy through that being. Later expressionist movements helped expand the vocabulary that can be used.
Surrealism also had an impact – its super-focus and startling sharpness helped provide a basis for the glistening effects I like to add to some works. Its rearrangement of shape and form helped me to melt normal shapes into new forms, which could better be used to express their energy. The collage work of Rauschenberg and others further contributed to the breaking down of the normal arrangement of form.
Paul Klee and others developed a language using symbols. Children in their art create symbols for well-known entities that often form a basic vocabulary to represent things commonly found in their world. Dubuffet expanded on this idea. I try to add in symbols known to modern industrial culture, in the manner of Pop Art, but using basic industrial materials themselves, more in the brute manner of Dubuffet, children or early cultures.
High energy jazz and rock and roll, like John Coltrane and Jimi Hendrix, helped me to expand my ideas about high energy expression, itself.
I do not feel that use of the basic materials of painting has been exhausted, or that art now must explore new materials/media to be able to make a valid statement.
Finally, since, to me, the spiritual is directly self-evident, it is also present in my work. The political and socio-political world are foreign to my art.
|
| |
Click to enlarge images (if larger image has been loaded) |
| |
Big Fish
2004 Acrylic, brown paper bags, styrofoam, wax paper 91.4 cm X 61 cm |
|
This is a fish in the ocean. It is done in bas relief, in 3D. |
HiFi Hamburg
2005 Acylic, cardboard, glitter 91.4 cm X 61 cm |
|
This is a hamburger at Hi-Fi speed. |
School of Fish
1979 Acrylic, brown paper bag, wax paper on cardboard 91.4 X 76.2 |
|
a school of fish |
Auvers 1976
1977 acrylic 91.4 x 61 |
|
Hoamge to Van Gogh's Crows Over the Wheat Field |
Hi Speed Bison
2005 Arylic on cardboard 91.4 x 61 |
|
A bison at high speed |
Herd
1979 Acrylic, brown paper bag, wax paper on cardboard 91.4 x 76.2 |
|
herd of bison in the grass |
Sputnik
1978 Paper, pencil, styrofoam, spray paint and antennas 152.4 x 50.8 |
|
drawing of the Sputnik |
Bacon & Eggs
1976 Acrylic, newsapaper, brown paper bag, wax paper on canvas board 91.4 x 61 |
|
Bacon and eggs |
Hamburger
1976 Acrylic, brown paper bag, newspaper on canvas board over pine 2" X 4"'s, with sparkles 91.4 x 203.2 |
|
momumental hamburger |
The Passage of Time
1978 Acrylic, newspaper, aluminum foil, on canvas board on pine 2 221 x 558.8 |
|
Using primitive carpentry of my devices, along with canvas board, newspaper, aluminum foil and rope, I constructed three works of art connected together to represent time passing. The piece is displayed on an old concrete driveway, with an old-age home in the background. The materials used are "modern" in the sense that I grabbed them within my own living area (in the hope that people of the industrial civilization would be familiar with them), and jerry-rigged the frame, developing my own construction techniques as I went. Please note that this piece was done in the late 1970's. It was set up as part of a personal exhibit that I presented privately to Gillian Levine (curator of the ICA in Boston at the time) in the morning, and then to Carl Belz of the Rose Art Gallery (then) in the afternoon. Both looked favorably on the works. |
Thunderbird
1979 Arcylic on homosote, wax paper, styrofoam, stripped electrical cord 215.9 X 121.92 |
|
thunderbird gathering energy in the sky from cloudd, etc........... |
Energy Pak
1979 Acrylic, rope, cardboard box, plastic containers, car parts, light parts 305.1 X 132 |
|
Centralized focus to enhance materialized energy |
Wave
1979 Acrylic, wax paper, aluminum foil, cotton 61 X 92 |
|
crashing ocean wave out of materials representative of those commonly found in societies today |
House
1979 pencil on paper, matte board 61 X 76 |
|
drawing on torn paper in pencil, depicting a house |
| |
| Education and biography |
| BFA - studied with John Grillo (a student of Hans Hoffman). A few small, local exhibitions. Some contemporary gallery directors (Gillian Levine who was at the ICA, Boston and Carl Belz, who was at the Rose Art Gallery, Brandeis) came to my workspace to see my work (after viewing slides) and were very encouraging. |
| |
| Future shows |
| Looking around.... |
| |
|
Website: mysite.verizon.net/klob |
| |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE |
CLICK HERE TO SEND THIS PROFILE TO YOUR FRIENDS |
| |
|
|
Copyright 2003-2009 © The Saatchi Gallery : London Contemporary Art Gallery
|



|
|