The Nude in the 21st Century

James Archer



Andy Beck



Alexandra Becker-Black



Joseph Besch



Mike Binzer



Susan Boehm



Sarah Burns



Reed Clarke



Don Copper



Robert Creighton



Angela Cunningham



Angela Cunningham



Seth Daulton



Seth Daulton



Evan Degenfelder



Rachel Foster



Graehound



Alison Harris



Larissa Hauck



Annie Heisey



Sabrina Hughes



Michael Kelly



Elizabeth Kendall



Patrick Kernan



Patrick Kernan



Junsoo Kim



Junsoo Kim



Cynthia Lahti



Cynthia Lahti



Cathy Locke



V.E. Long



V.E. Long



Mary Mahoney



Mary Mahoney



Andrea Moni



Kathryn Nussdorf



Colin Poole



Gail Postal



Gail Postal



Nick Reszetar



Ben Rosenberg



Ben Rosenberg



Robert Rosenthal



Robert Rosenthal



Bethany Rowland



Steven Rushefsky



Soo Ock Ryu



Dixie Salazar



Deborah Shapiro



Deborah Shapiro



Gregory Siler



Ellen Soderquist



Ellen Soderquist



Jon Sours



Tovah Stevenson



Lisa Taylor



Georganne Watters


Tovah Stevenson
(Warwick, RI, USA)
Artist Website

Nicki on the Pole, Oil on Panel, 32x24

That light is the vehicle through which we perceive everything is the basis of Stevenson's primarily figurative work. She is interested in the quiet moments of reflection that accompany instances of intense light. The figure is both formed and eroded by differing light situations, and there is something about this paradox that establishes a contemplative and theatrical mood. Those brief moments are what she seeks to capture in her paintings.

Her recent series explores the environment of the gentleman's club. In this body of work, she employs formal devices of composition, light contrast, and color relationships in order to present ephemeral moments of beauty and physical grace in a study of a socially stigmatized environment. The artificial light of the strip club, where saturated neon pigments describe the dancer's form and her relationship to the environment, creates a dramatic and exhibitionistic afterhours narrative; one where the viewer is invited to participate.

One of the driving forces behind the motivation for attempting this series was the lack of female artists approaching the subject matter. The omission of the male gaze from the artist's perspective is meant to portray the imagery empathetically, to humanize the dancers and showcase their physical agility while indulging in the candy artifice of color and theatrical light. This lighting, along with the juxtaposition of the female form against the pole's strong vertical, the various states of undress of the dancer, the acrobatic gestures, and her location on a platform, all make the setting an ideal subject for a contemporary figurative painter.


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