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DAVID J. WAGNER, L.L.C.LUSTER: Realism and Hyperrealism in
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THE ARTWORKSAlphabetical by Artist's Last Name Outer Dimensions hxw in Inches Artworks and photos are copyrighted by their respective artists and may not be reproduced without permission |
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 A.D. Cook America 2016, Acrylic On Canvas, 48 x 60 Collection of Ed Wallace, Jr. |  A.D. Cook Dream 103 2016, Acrylic On Canvas, 24 x 36 Private Collection |
 A.D. Cook Duet 1999, Acrylic On Canvas, 36 x 60 Luster Webpage Only, Not Physical Exhibition |  A.D. Cook Indian Summer 2000, Acrylic On Canvas, 48 x 36 Collection of Mark McAlister |
 Randy Ford Coastal Contenders 2017, Oil on Panel, 48 x 72 Luster Webpage Only, Not Physical Exhibition |  Randy Ford Glamour Shot 2017, Oil on Panel, 48 x 48 |
 Randy Ford Sedona Sidewinder 2017, Oil on Panel, 48 x 96 |  Randy Ford 1950's (1959 Cadillac Eldorado) 1989, Oil on Panel, 50 x 78 |
 Allan Gorman A Nice Day For A Ride 2013, Oil On Canvas, 46 x 46 |  Allan Gorman Red & Black Eagle 2014, Oil On Linen, 41 x 29 |
 Allan Gorman Ruby & Sapphire 2014, Oil On Linen, 41 x 29 |  Allan Gorman Three Lights And A Horn 2016, Oil On Panel, 25 x 19 |
 Marc G. Jones Austin Healey 2017, Acrylic On Canvas, 28 x 40 |  Marc G. Jones The Car Wash 2016, Acrylic On Gallery Wrapped Canvas, 30 x 40 |
 Marc G. Jones LeMans Porsche 917 2017, Acrylic On Canvas, 36 x 48 |  Cheryl Kelley Blue Corvette 2016, Oil On Aluminum Panel, 15 x 24 |
 Cheryl Kelley Z-Line NASCAR 2010, Oil on Aluminum Panel, 28 x 48 |
 Richard Lewis Alfa 8Cs 2011, Watercolor, 66 x 46 |
 Richard Lewis Duesy Chrome 2004, Watercolor, 66 x 46 |  Richard Lewis Hispano Suiza Chrome 2015, Watercolor, 46 x 66 |
 Richard Lewis Snake In The Grass 2016, Watercolor, 46 x 66 |  Lory Lockwood All The Pretty Horses 2017, Acrylic On Canvas, 32 x 42 |
 Lory Lockwood Cool Pipes 2017, Acrylic On Canvas, 30 x 44 |  Lory Lockwood Partly Cloudy In Daytona 2017, Acrylic On Canvas, 30 x 44 |
 Lory Lockwood Porsche on Porsche 2017, Acrylic On Canvas, 32 x 42 |  Kirk Lybecker A Random Occurrence 1991, Watercolor on Paper, 22 x 30 Luster Webpage Only, Not Physical Exhibition |
 Kirk Lybecker Hearing an Aria Sung in the Key of Disillusionment 2012, 37 x 55, Watercolor Luster Webpage Only, Not Physical Exhibition |  Kirk Lybecker The Lessening Dissatisfaction of Distance 2012, Oil, 27 x 40 Luster Webpage Only, Not Physical Exhibition |
 Kirk Lybecker Untitled 2018, Oil and Acrylic on Linen, 42 x 72 Luster Webpage Only, Not Physical Exhibition |  Kirk Lybecker Untitled 2012, Oil on Canvas, 34 x 48 Luster Webpage Only, Not Physical Exhibition |
 Robert Petillo Heartland 2007, Acrylic On Canvas, 36 x 27½ |  Robert Petillo Frankie’s Root Beer Stand 2007, Acrylic On Canvas, 38 x 29 |
 Robert Petillo Heroes 2008, Acrylic On Canvas, 30 x 20 |  Robert Petillo To Protect And Serve 2009, Acrylic On Canvas, 36 x 27 |
 Kris Preslan Cars I’ll Never Own, #10…the Woodie 2017, Transparent Watercolor, 25 x 30 |  Kris Preslan Cars I’ll Never Own, #12…Bentley Transparent Watercolor |
 Kris Preslan Cars I’ll Never Own, #15…Auburn Transparent Watercolor |  Kris Preslan Cars I’ll Never Own, #9…The MG 2015, Transparent Watercolor, 31 x 25 |
 Kris Preslan The Old Indian 2014, Transparent Watercolor, 22 x 28 |  Joseph Santos Chevy Bel Air 2013, Watercolor, 21 x 22 |
 Joseph Santos Ford Falcon 2012, Watercolor, 10½ x 28 |  Joseph Santos Lincoln 2013, Watercolor, 20½ x 22 |
 Joseph Santos Lincoln 2 2013, Watercolor, 21 x 21 |  Ken Scaglia Arc of a Driver 2014, Acrylic On Canvas, 37 x 37 |
 Ken Scaglia Arrangement in Grey and Black: Barrels 2010, Acrylic On Canvas, 31 x 31 |  Ken Scaglia Please Be Seated 2017, Acrylic On Canvas, 37½ x 25½ |
 Ken Scaglia Saratoga 300 2011, Acrylic On Canvas, 37 x 35 |  Ken Scaglia Tower of Power (1935 Bugatti Engine) 2011, Acrylic on Canvas, 31 x 31 |
 John E. Schaeffer Candy Apple Tuxedo 2017, Acrylic On Canvas, 25½ x 49½ |
 John E. Schaeffer Rocket 88 2017, Acrylic On Canvas, 25 x 25 |
 John E. Schaeffer Fill'er Up 2017, Acrylic On Canvas, 25½ x 25½ |
 John E. Schaeffer Totally Wired 2017, Acrylic On Canvas, 31½ x 25½ |
 Guenevere "Moto Painter" Schwien Desmo Details 2014, Oil on Wood Panel, 24 x 32 |  Guenevere "Moto Painter" Schwien Fifty Nine Bonneville 2015, Oil On Wood Panel, 31 x 22 |
 Guenevere "Moto Painter" Schwien Vintage Ducati 2011, Oil On Wood Panel, 48 x 36 |  Guenevere "Moto Painter" Schwien Shadow 2017, Oil On Wood Panel, 35 x 24 |
 Harold D. Zabady Ferrari Testarossa 2015, Oil On Linen, 30 x 38 |
 Harold D. Zabady Iconic E-type Engine 2014, Oil On Linen, 40 x 60 |
 Harold D. Zabady Lacquer and Chrome 2004, Oil On Linen, 40 x 60 |
 Harold D. Zabady Timeless Beauty 2017, Oil On Linen, 40 x 60 |
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Ever wonder how the idea for an exhibit begins? In the case of LUSTER, it was a recommendation by painter Allan Gorman of a related, industrial art exhibition, and subsequent discussions which narrowed down the concept. Allan as well as Ken Scaglia had exhibited in the MASTERWORKS exhibit from the International Guild of Realism which toured under the auspices of David J. Wagner, L.L.C. Allan's "Ruby & Sapphire" and Ken's "Saratoga 300" were both featured in the MASTERWORKS exhibit, and are now experiencing an encore in LUSTER. There's a parallel that makes the story even more interesting: The Curator who had booked MASTERWORKS at The Appleton Museum of Art in Ocala, took a career advancing position at the Museum of Arts and Sciences in Daytona Beach, and once in Daytona, not only booked LUSTER, but also hosted its World Premiere during Bike Week.
Recollections by Luster Curator of Efforts to Recruit Artist, A. D. Cook
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LUSTER: Realism and Hyperrealism in Contemporary Automobile and Motorcycle Painting, is a traveling museum exhibition comprised of over 55 paintings by 15 leading photorealists and hyperrealists who specialize in automobiles and motorcycles as their primary subject of choice. Exhibiting artists include (in alphabetical order): A.D. Cook (Las Vegas, NV), Randy Ford (Eastampton, NJ), Allan Gorman (West Orange, NJ), Marc G. Jones (Loveland, CO), Cheryl Kelley (Northern California), Richard Lewis (Los Angeles, CA), Lory Lockwood (New Orleans, LA), Robert Petillo (Hardyston, NJ), Kris Preslan (Lake Oswego, OR), Joseph Santos (Buena Park, CA), Ken Scaglia (Weston, CT), John E. Schaeffer (La Grange, TX), Guenevere "Moto Painter" Schwien (Portland, OR), and Harold D. Zabady (Camp Hill, PA).
After the first wave of photorealists in the ‘60’s and ‘70’s, younger artists produced work that extended automotive painting in new and interesting ways, notably, in the stylistic realm of what has become known as, hyperrealism. In the 1980’s, Peter Maier (b. 1945) magnified the work of the first generation of photorealists, by painting cars and motorcycles to scale and applying actual automotive paint to canvases of side-body aluminum, sheet metal. Other innovators and virtuosos followed in the 1990’s and the New Millennium. Like the shiny automobiles and motorcycles they portrayed, paintings of these new-age artists can be characterized by the luster that permeates their work. Chrome ornamentation and trim; reflective side molding, hood and trunk enameled metal, and high performance plastics such as ABS, and before that sometimes exteriors of wood, along with glass and rubber, and interior fabrication to meet the needs of purpose-built vehicles of all sorts . . . These are the surfaces which recent realists, photorealists, and hyperrealists have exploited to generate true, virtuosic masterpieces. But that’s not all; some of today’s realists contextualize their paintings with figurative imagery and landscape, while others imbue them with nostalgia or patriotism. And there are even those who capture antithetical properties of aging or damage offering new and interesting visual as well as metaphorical possibilities.
When U.S. car sales stagnated from market saturation in the 1940’s, General Motors President and CEO, Alfred P. Sloan, Jr., promoted the idea that design changes occur annually to drive new sales. One upshot for automotive design was that old, open-top runabouts and touring cars were phased out and design elements such as running boards and headlights were gradually integrated into the car body. With cheap gas, post-war boom years, and the advent of the Interstate Highway System in 1956 during The Eisenhower Administration, American automotive design and sales flourished. In the 1950’s and ‘60’s, the industry reached new heights by offering consumers increased horse power for speed, and more artfully, integrated design which was dramatized with features such as tail fins. LUSTER features paintings of automobiles from those boom years, but also from years before and since, as well as track and off-road vehicles, and much more, not the least of which, are a range of motorcycles.
In the world of modern art, Photo Realism emerged as a force in the 1960’s, and motor vehicles assumed a special place of distinction as subject matter in its iconography with the paintings of Richard Estes (b. 1931) who painted cars inhabiting urban landscapes, and two West-Coast photorealists, Ralph Goings (b. 1928) and Don Eddy (b. 1944). Harold James Cleworth (b. 1939), a Brit who immigrated to America in 1975 from London where he had been an illustrator with the distinction of designing the first two Rolling Stones album covers and the first cover of The Who, not only established himself as one of the first generation of photorealist, automotive painters in the U.S., but also expanded the market by publishing inexpensive posters through a network of distributors.
The traveling museum exhibition, LUSTER: Realism and Hyperrealism in Contemporary Automobile and Motorcycle Painting, is comprised of over 55 paintings by 15 active realists and hyperrealists who specialize in automobiles and motorcycles as their primary subject of choice, in a range of media and scale. Their collective work embodies the very best of automotive painting being done today. It also encompasses a broad range of car and motorcycle styles and design from vintage vehicles of the first half of the Twentieth Century, to the classics of the 1950’s and ‘60’s, to road and track racing, off-road vehicles, exotics, and more. Featuring dazzling paintings that portray a spectrum of vehicles from the first half of the Twentieth Century to the present, LUSTER is a celebration of mechanical and artist design and style, the combination of which will have great allure with audiences throughout the United States.
LUSTER: Realism and Hyperrealism in Contemporary Automobile and Motorcycle Painting features a selection of dazzling paintings of vehicles from the birth of the automobile and motorcycle to the present. As such, LUSTER is a celebration of automotive design and style, and contemporary, artist virtuosity.
David J. Wagner, Ph.D.
Curator/Tour Director
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