Busacca Gallery

Red on Red by artist Douglas Newton: Oil painting of two red candies wrapped in cellophane. Gallery wrapped on heavy stretchers. EDUCATION:
Art Center College, Stanford University, B.A SOLO EXHIBITIONS: (selected) 
1991, Educational Testing Service, Henry Chauncey Conference Center, Princeton, New Jersey GROUP EXHIBITIONS: (selected) 
2006: "A Seperate Reality", Curator, Samantha Dorfman, The Arts Guild of Rahway, New Jersey
2002 - Present: Gallery in the Woods, exhibitions in their gallery in Brattleboro, Vermont
2002: ARTeur Visual Codex, Group Show in New York City and at Maryland Art Place, Baltimore; Maine/Maritime International Flatworks 2002, Read Art Gallery, University of Maine
1996: Nicholas Davies & Co. Gallery, New York City, ?Fin de Siècle?
1993: Tribeca 148 Gallery,. New York City, ?Maximization?, Curator: Madelaine Messmore Netter
1989: and 1991 Hudson River Open, Hudson River Museum, Yonkers, NY REVIEWS
Howard Farber: review of "Soho Lives", ARTspeak, March 1993 I paint in both a realistic and surrealistic manner. Lately, have doing more realistic still lives of common objects such as toys, candy, fruits and vegetables. The subjects of my more surrealistic paintings are suburban houses and gardens with unexpected juxtapositions of objects. The common thread in my painting is an emphasis on light and shadow forming rhythms and patterns. For information you may contact
Douglas Newton

Link: http://en.wikipedia.org/wiki/Painting

Painting is the practice of applying paint, pigment, color or other medium to a surface (support base). In art, the term describes both the act and the result, which is called a painting. Paintings may have for their support such surfaces as walls, paper, canvas, wood, glass, lacquer, clay or concrete. Paintings may be decorated with gold leaf, and some modern paintings incorporate other materials including sand, clay, and scraps of paper. Painting is a mode of expression, and the forms are numerous. Drawing, composition or abstraction and other aesthetics may serve to manifest the expressive and conceptual intention of the practitioner. Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, be loaded with narrative content, symbolism, emotion or be political in nature. A portion of the history of painting in both Eastern and Western art is dominated by spiritual motifs and ideas; examples of this kind of painting range from artwork depicting mythological figures on pottery to Biblical scenes rendered on the interior walls and ceiling of The Sistine Chapel, to scenes from the life of Buddha or other scenes of eastern religious origin. What enables painting is the perception and representation of intensity. Every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity; by using just color (of the same intensity) one can only represent symbolic shapes. Thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization (perspective), and symbols. For example, a painter perceives that a particular white wall has different intensity at each point, due to shades and reflections from nearby objects, but ideally, a white wall is still a white wall in pitch darkness. In technical drawing, thickness of line is also ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters.