Arcadia Contemporary

9428 Washington Blvd.

Town Plaza

CA 90046 Los Angeles

United States

Phone : 424-603-4656

Fax :

Mobile Ph. :


Steven Diamant   ()


Arcadia Contemporary features and international roster of artists whose goal is to create works that exhibit a strong mastery of skill combined with a unique, signature style.

Exhibiting Artists

Other Represented Artists

  • Nick Alm

    Biography : Nick Alm got accepted to the Florence Academy of Art in 2007 were he also became a teaching assistant. After graduation Nick received a scholarship to join The Hudson River Fellowship to paint landscapes. A big part of 2011 was spent together with Odd Nerdrum in Norway and France before moving back to Sweden to set up a new studio. Nick has received several international honors and awards. In May 2012 he exhibited in the Portrait Society of America show in Philadelphia where he received an “Exceptional Merit Award”. In 2013 he won the First Place Prize in ARC´s international salon, followed by a “William Bouguereau Award” in 2014.

  • Casey Baugh

    Biography : Baugh's work can be described as narrative impressionistic realism. Specializing in oil paint and charcoal, he began painting at the age of 13 and began selling professionally at age 17. When he was only 21 years old, Baugh began showing in galleries and after four years of studying with artist Richard Schmid, he had his first solo show at age 25. He has made several television appearances and has been featured on the covers of many publications, including The Artist's Magazine, American Artist's Magazine, and American Art Collector. Baugh's art has evolved over time to become more narrative. Though still maintaining figures as his prime subject matter, he is telling more stories, and his series and exhibits are becoming more thematic. On a constant quest to push new boundaries, he is persistent in experimenting with his inspirations and artistic translations, pursuing more complicated compositions and achieving grander shows. Experience with electrical engineering as well as video and movie-making has attributed greatly in his use of props, set building, lighting, and translates to the overall harmony of his visual layouts. ..... the profound similarities between Baugh's painted world and our own have the potential to unsettle and awaken us, as viewers, to a more vivid reality than we currently experience, and to freshly recognize the "static" that interferes with our ability to connect with one another and live meaningfully. (Jeffrey Carlson, Contributing Editor, Fine Art Today) Baugh currently works and resides in Brooklyn, NY.

  • Daniel Bilmes

    Biography : Daniel Bilmes is a contemporary painter, working in Los Angeles. His approach is characterized by deep personal exploration, combining realism with elements of symbolism and abstraction. Through tactile textures and delicate expressions, his paintings weave together the magical and mundane. His work is at once hopeful and brooding. Realistic and symbolic. Somewhere between the vitality of the Russian circus and the gravitas of a Churchill speech. Daniel began his art education at the age of 8 under the tutelage of his father, the respected artist and educator, Semyon Bilmes. Being immersed in art from such an early age had a profound impact on his personal growth and creativity, laying a lasting foundation of curiosity that continues to drive and inform his work today.

  • John Brosio

    Biography : John Brosio was born 1967 in Pasadena, California. He has been drawing for as long as he can remember and those earliest scribbles depict much of the same "off center" subject matter that concerns him today. Apart from various travels his life has been based in either Southern California where he was raised or Northern California where he received a Bachelor of Fine Arts from the University of California at Davis in 1991. Learning under the guidance of artists such as Wayne Thiebaud and Richard Bunkall, Brosio was seduced away from his original aspirations toward a career in film and movie special effects, consequently, cinematic influences are apparent in his work. Known originally for his depictions of tornadoes, Brosio spent three seasons "storm chasing" out of Texas and will often go to such extreme measures in pursuit of familiarity with any of his chosen subject matter. Various exhibitions and honors are highlighted by solo shows in both CA and NY, a survey of his work at the National Academy of Sciences Museum in Washington D.C. in 2008.

  • Matthew Cornell

    Biography : Matthew Cornell was born in Fairfield, CA in 1964. His first memories are of traveling across the United States in a car. His childhood was, in a sense, the quintessential American experience, because the notion of a “road trip” was conceived and perpetrated by Americans. The automobile and the family trip was, and still is, ours. It is these experiences driving across this land at a young age that formed his way of seeing things. Cornell says, ”Every year we travelled across the US and I spent most of my time looking out of the window and observing the landscape and weather. We moved a lot and I got to see almost every part of this country. It was a blessing. It made me aware of the variety and the vastness the US has to offer.” Weather became the dominant influence on his early landscape painting. “I have always been fascinated by the extremes of weather and the power of nature,” he says. "It is in a constant state of creation and destruction, of origin and destination. With every day, the planet begins anew. Nature seeks equilibrium. It is in a never ending cycle.” Cornell prefers the sublime and meditative observations of land and seascape, the narrative of majestic weather, and somber cloudscapes sweeping across the land and vast empty sea. Recently his paintings have turned more complex, with dusk and night scenes, streetlights on secluded homes. The visual backdrop has allowed a subtle narrative of mystery and intrigue. “Landscapes at this hour are like ghosts that are unseen during the day, only to be revealed by the strange and myriad ways the night time glows”, Cornell says. These narratives include neighborhoods that mirror the kind he grew up in and the longing he now has to find home. “I spent a great deal of my childhood moving and this has greatly influenced my new work. I am searching for that elusive notion of where I come from and where I belong.” Cornell has been part of many group, solo, and museum shows since 1997. He no

  • Shaun Downey

    Biography : Shaun Downey was born in Mississauga, Ontario, Canada in 1978. He studied drawing and painting at the Angel Art Academy in Toronto from 1998-2001, and graduated with honours from the Illustration program from Sheridan College in Oakville Ontario in 2002. Shaun strives to breathe fresh life into realist painting by combining classical ideals within the context of his own life and surroundings. His paintings have elements of decades past, but are firmly grounded in present day. Often painting his wife and friends within the confines of his home, we are allowed a voyeuristic glance into his world as he reveals his efforts to capture the fleeting beauty of modern life. As outside viewers, we find ourselves longing to understand who Shaun Downey’s subjects are, what their lives are like, and which chain of events led them to the exact moment the artist has captured. His meticulously rendered paintings call out to be understood, but we the viewer are left to make our own assumptions. Downey's work was shown in 2010 at the National Portrait Gallery in London, as part of the BP Portrait Award. His painting "Blue Coco" was chosen as the leading ad image, appearing on the catalog cover, on posters throughout the London subway system, and on a large banner draping the front of the National Portrait Gallery. Jenna Opsahl of Jungle Magazine (London, UK) states: "His scenes are mysterious and unknowable - and yet they feel familiar; as if we ourselves, have been here before."

  • Stephen Fox

    Biography : Stephen Fox was born in Richmond, Virginia, in 1957. By the fourth grade he knew he would be an artist of some kind—his earliest serious work was drawing and inking his own comic books. His interest in art and oil painting blossomed in college (V.C.U., Richmond, VA), where he studied painting and printmaking, receiving his BFA in 1980. His very first night paintings, a subject that has remained the focus of his work to this day, were made in the final two semesters of college. Almost immediately upon graduation,his paintings were featured in Virginia Museum of Fine Arts juried exhibitions, winning critical acclaim and interest from galleries. He received a Virginia Commission for the Arts Professional Artist Fellowship in 1982, the following year he had his first solo exhibition at Cudahy’s Gallery in Richmond, Virginia. The show was a sell-out in just two days. The following year, Fox became a recipient of a Southeastern Center for Contemporary Arts Professional Artist’s Fellowship, and his paintings were featured in an exhibition to commemorate the award. Over a span of a decade, he also became a three-time recipient of the Virginia Museum Professional Artist’s Fellowship. His work quickly attracted national interest, and in 1986, he had his first one-person exhibition at O.K. Harris Works of Art in New York City. Ivan Karp, the owner/director of the gallery, described his work as “borderline Photorealism”, acknowledging that the artist’s nighttime landscapes, while partially photo-based, often had a quality of mystery or gentle symbolism at their core that separated them from paintings solely focused on the world of forms and photographic detail. The artist had many successful one-person exhibitions at O.K. Harris over the next two-and-a-half decades. In 1995, after painting and showing consistently ever since graduating from college, Fox entered the graduate painting program at the Maryland Institute College of Art, in Baltimore, MD. There he fu

  • Mary Henderson  (+)

    Detailed Description : My work deals with themes of social class, interpersonal connections, group identity and the public/private self. I am especially interested the ways individuals and groups attempt to construct or live up to idealized personae or experiences, and how those efforts fall short of expectations. Inspired by my own personal and family history – as well as by broader social phenomena – the paintings frequently depict their subjects at unguarded moments of vulnerability, reflection or preoccupation.

  • Brad Kunkle

    Biography : Born in rural Pennsylvania, Brad Reuben Kunkle spent his younger years exploring and romanticizing the beauty of the sparse countryside and the deep forests around him. From an early age he was drawn to the worlds of Maxfield Parrish and the Pre-Raphaelites -- worlds, he says, "where a subtle, supernatural beauty seems to be hiding under the breath of women -- worlds where something beyond our natural perception is waiting to be found." He studied painting at Kutztown University mostly under George Sorrels, who was taught by a pupil of the 19th century Academic painter, William Adolphe Bougereau. Filled with academic principles, Brad felt confident in his ability, but stifled by the structure of schools and dissatisfied with the boundaries of traditional imagery. In an effort to discover his own artistic sensibilities, he worked as a commission-based portraitist, and began an almost decade-long journey of continued self-instruction and independent study. Brad was searching for an unnatural quality in his paintings, and it was ironically discovered by reducing his processes to the elements of painting he felt came most natural to him. His minimal palette is inspired by the grisailles of early European masters and the haunting quality of antique photographs and daguerreotypes. "Grisaille has a mysterious quality to it, and that mysterious quality is also at times carried into the way I will treat an object or a dress. Sometimes I like to give just enough information for the viewer to finish the details of what they are seeing." As a decorative painter in his mid twenties, he leafed entire walls in copper. He was beguiled by the shifting, life-like nature of the surfaces, and began to incorporate gilding in his work. This proved to fulfill the unreal quality he had been looking for to convey his moody, romantic ideas of human nature and ritual. "The use of gold and silver in my paintings serve two main functions -- the first being symbolic. Gold and silver serve as

  • Malcolm T. Liepke  (+)

    Biography : There is a timeless quality to the paintings created by Malcolm T. Liepke. His imagery transplants viewers to a bygone era of late night haunts, couples lingering in smoky rooms and intimate private moments. While timeless, the imagery still manages to retain a distinct, contemporary flair. The sublime beauty of his subjects, often women lost in contemplation, are imbued with a sense of melancholy. The brushwork; thick, lush and bold make the canvas “breathe” with an intensity not often found in today’s more “antiseptic” art world. “I look at my own world and paint it,” says Liepke, “but I also want my paintings to be ultimately timeless. I’m a channel to express the human condition.” Liepke’s fascination with the art world began at a young age. During his senior year of high school, he realized that being an artist was the “only thing I was cut out to be.” So he packed his bags and moved from his native Minnesota and moved to California where he enrolled in the Art Center College of Design in Pasadena. He soon became frustrated, however, with the curriculum that emphasized abstraction and conceptual art. After a year and a half, he dropped out. “They weren’t going in the direction that I wanted to go,” he explained. “They were promoting superficial and trendy techniques. I wanted to learn from the masters that I saw in the museums.” Liepke, who was and continues to be drawn to the work of the 19th-century masters, did just that. He headed east to New York’s finest museums where he studied the work of Sargent, Degas, Toulouse-Lautrec and Vuillard, absorbing technique and discipline while developing a unique vision all his own. From the beginning, Liepke was drawn to the figure. “It’s not really like anything else,” he explains. “In landscapes, there can certainly be a great deal of emotion, but it is a different kind and not as strong to me as looking at the figure. There is a timeless quality to figurative painting t

    Also represented by:

  • Jeremy Lipking

    Biography : Jeremy Lipking learned how to see as a student at the California Art Institute. In his younger days, he'd size up the figure as the sum of its parts, picking out the eyes, the nose, the mouth and the hands. But his teachers at the institute taught him to detect the shapes created by light and darks and the subtleties of color. Although he'd always drawn and painted, Lipking says, at the end of his year in art school it was obvious that he'd made a tremendous artistic leap. Since then, the California artist has confidently and tenaciously chased the dreams he set out for himself while he was a student. He strives to master the fundamentals of painting and recreate the inspiration that generated each piece in the first place. Lipking was born in Santa Monica and has lived in Southern California most of his life. His father is an advertising designer, children's book illustrator and landscape painter, so Lipking's childhood was immersed in art. Under his father's tutelage, he learned some of the basics of design, drawing and color. He might rather have been home watching cartoons, he says ruefully, but his father insisted they spend time at local museums and galleries. Despite the fact that he demonstrated early talent in art, it was music that drew him strongly. Throughout his teens, Lipking played guitar and performed in a punk and reggae band. He appreciated and played all types of music and considered the possibility that music might be his calling. For a semester after high school, he took art classes at a local community college. Then, at his father's suggestions, he looked into the California Art Institute, an intimate academy in Westlake Village, California. Once his classes started, he became impassioned by the traditional approach that school fostered. "When I started studying, I painted still lifes, the figure and landscapes," Lipking says. "Painting the landscape was a little easier than hiring a model or finding a place to paint the model or the still

  • Annie Murphy-Robinson

    Biography : The intent of my work is to allow the viewer to interpret meaning using their own experience. My feelings and thoughts behind it are directly related to my personal history with the subjects in the work, whether they are animate or inanimate. A certain sadness, hopelessness or resignation seems to always be present, for me it allows for deeper contemplation. I tend to title the work in a very straight-forward manner, that way the viewer again has access to the image and isn't steered in a different direction. My technique is relatively unknown, I use sandpaper as a medium to embed dry material into heavy paper. Using this technique, I am able to “see” in the dark; I use a myriad of photographic reference for the images of my daughters and I draw from life the images of my old toys and memorabilia. The use of this technique takes the work to a “hyper-real” level and lends itself well to the pervasive feeling of melancholy that exists. My intent is to confront the viewer and ask questions. There is honesty to the work that I can only express if I have a true connection with it. I pick out everything from the outfits and rugs that the subjects sit on to the lighting in order to capture the feeling that I wish to convey for that body of work. I have started to incorporate props as well which leads to a narrative that is also open for interpretation. My art is a diary of sorts, quasi self-portraits that reference my childhood experiences, good and bad.

  • Jeffrey Ripple

    Biography : I began by making small still life studies on paper and, for the past two decades, these have gradually evolved, increasing in scale and complexity. I continue to work on paper because it allows for a level of detail and a range of ways of handling paint that I find hard to achieve on other surfaces. Painting is a way to explore the beauty and mystery I see in nature and to go beyond observation to a greater understanding of its structure and variety. I have been concerned with texture and color within my compositions, which I hope achieve a strong sense of light and balance. Although I am drawn to a wide range of sources, my primary influences are in Spanish seventeenth-century painting and Asian painting. I strive to create images which acknowledge a debt to the past while communicating my sense of wonder in nature in a personal way.

  • Denis Sarazhin

    Biography : Denis Sarazhin was born in Nikopol, Ukraine in 1982 . He attended the Kharkov Art and Design Academy, graduating in 2008. He specialized in painting and was a pupil of Ganozkiy V. L., Chaus V. N., and Vintayev V. N.. Sarazhin was awarded with the 1st Degree Diploma Award for Excellence in Painting from the Ukrainian Art Academy. Since 2007 he has been a member of Kharkov’s section of the association of Ukraine’s Artists’ Alliance.

  • Adam Vinson

    Biography : Born in Wilkes-Barre, PA in 1978, Adam Vinson began his formal training studying commercial illustration at Luzerne County Community College. There he befriended a young instructor whose invitation to pursue a more comprehensive examination of drawing and painting transpired into a three year course of instruction under the tutelage of Anthony Waichulis. Upon finishing the curriculum, he enrolled in the storied Pennsylvania Academy of the Fine Arts. His experiences within those halls broadened his appreciation of the artist’s capacity for innovation beneath the weight of a dense and capricious art history. Having achieved recognition as a still life and trompe l’oeil painter, Adam’s symbolic interplay of contemplation, humor and irony became a distinguishing hallmark of his early oeuvre. But his deference for what he regards as the “fickle nature of the muse, who may whisper in an ear one moment and stomp on a toe the next”, has encouraged him to explore the profundity of each picture in the absence of a genre’s directive. Adam’s work has been featured in publications including American Art Collector, American Artist, Southwest Art, Stroke of Genius and American Arts Quarterly. In 2009, Vinson was the recipient of the third place award in the Smithsonian National Portrait Gallery’s Outwin Boochever Portrait Competition. In 2016, he accepted the honor of third place in The Portrait Society of America’s International Portrait Competition.

  • Aron Wiesenfeld

    Biography : “This is a place where words fail, they freeze in the throat before they can be spoken. It is still, secret, ancient, unchanging, dark (even in the day), visceral, uncultured, unenlightened, and magical.” Aron Wiesenfeld knew he wanted to be an artist at the age of 12. From that early age he pursued a regimented schedule of drawing and painting for up to 6 hours a day. Out of high school he entered the Cooper Union School of Art in New York. He says “It was a phenomenal experience to be exposed to completely new ideas and be immersed in the art of the city”, but he was disappointed with the conceptual art emphasis of the curriculum there. “Talking about art seemed more important than making art, I thought it was very strange.” He left the school after 2 years. Eventually enrolling at the Art Center College of Design in Pasadena, Aron quickly found his way back to painting. “It was like learning that I could speak a foreign language” and he made fast leaps in large scale figurative oil painting. It was in school that Aron says he found his vision for his work. He was exposed to the work of many painters that would have a lasting effect on him, such as Lucian Freud, Odd Nerdrum, and Anselm Keifer. However, Aron says it was the work of the German photographer August Sander that had the most profound influence. “When I saw his pictures, something clicked. Under the auspices of documenting the people of his time and place, he gave them titles that identified their ‘type’, such as ‘Farmer’s Daughter’ and ‘Dissident.’ At the same time the portraits were very intimate, portraying people at their most revealing. Aron’s paintings depict enigmatic figures traversing desolate environments. Both the people and the places seem familiar, yet oddly out of place. He says “They are refugees, pilgrims, and wanderers, trying to get to the other side of a river that is forever out of reach. I think they are answering a call that is not consciously