Today we celebrate the birth of the world’s best-known Surrealist artist, Salvador Dali. Dali was born May 11, 1904 in Figueres, Spain. He was an intelligent and creative child who displayed notable artistic abilities. Dali would go on to study art in Madrid and Barcelona where he assimilated a vast number of artistic styles. It was not until the late 1920s, however, that two events brought about the development of Dali’s mature artistic style: his discovery of Sigmund Freud’

Love Will Tear Us Apart, a celebrated and controversial piece by legendary artist Damien Hirst. One of the first bodies of work to achieve Hirst recognition was his Medicine Cabinets series, in part inspired by a youthful near fatal accident when a toddler Hirst mistook prescription pills for candy resulting in an emergency stomach pump. The inevitable constant of death has remained a cardinal theme to Hirst's work, as that which does not live cannot die. It could be argued t

Rigidly structured formalist notions of minimalist, non-representational art, and geometric identities sit quietly nestled in the negative / positive spaces within Jedd Novatt’s sculptures. Novatt is hyperaware of the dynamic of “spatial vibrations” that his artwork disseminates into the cosmic heavens but pulls back with methodical force to constrain the materiality, and pontificates on “space as form” with a clear discernment for perceived as well as physical balance… ~ Ima

Jedd Novatt (b. 1958) Huracán II, 2021 Black Bronze Sculpture 42.25 x 26.75 x 18.50 in DM for Details Jedd Novatt was born in New York City in 1958. After graduating from Sarah Lawrence College in 1980, Novatt went to live in France and Italy. He taught at the Lacoste School of the Arts (now Savannah College of Art and Design) located in the medieval village of Lacoste in the Luberon region of Provence, France and lived in Todi, Italy. Novatt returned to New York City in 1981

In the new Hurácan Sculpture Series, Jedd Novatt examines discernments of balance with his geometric shapes that build upon, morph within, and volley around each other. It is within these undefined quadrilateral forms that the artist examines the critical analysis of scale and weight. Hurácans’ upward and outward mobilities can be characterized as infinite as the artist probs the perceived absolutes of spatial realities, both physical and transcendental. In this conceptual ye