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BETTER THAN ART

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When's the last time you looked at anything for longer than a few seconds--except for your phone?

 

EidsvigArt contains experiences. With a background in illustration, drawing, poetry, and theatre, Kurt Cole Eidsvig builds art for right now. These are artworks you can come back to over and over again. You change. The art changes. Pop art has never looked so deep. Expressionist art has never been so intensely contemporary.

 

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VISIONARY LAYERS

More Each Time You Look

What makes Eidsvig Art so special? Rather than just looking at experiences, Eidsvig Art provides the experience of looking. Every time you return to an Eidsvig Art original is an opportunity for a deeper relationship to the art and to yourself. Some call Kurt Cole Eidsvig's style neo-pop or neo-pop expressionism. These works take the best from deeply emotional expressionist strategies as well as the common connections from pop culture. 

Kurt Cole Eidsvig's exhibition record spans over 20 years and includes solo, 3-person, and group shows in the US and Australia. Numerous media outlets like The Boston Globe, The Improper Bostonian, The Weekly Dig, The Boston Phoenix, Big Red & Shiny, and BNN have featured Eidsvig and his work. 

EXQUISITE DETAILS

Like every good character in a movie or a streaming show, each part of a Kurt Cole Eidsvig original artwork has a story to tell. Working with a layered approach, these small details and interpersonal interactions make each artwork that much more complex and enjoyable.

COMMON EXPERIENCES

We have so much in common. How we meet, love, touch, hear, see contains shared moments and instinctual responses. Kurt Cole Eidsvig's art takes the primal reactions we all experience and connects them with contemporary life and culture. Using vintage styles and modern-day specifics lets each viewer feel more entangled with the universe.

THE VISUAL LANGUAGE OF NOW

Our contemporary life is a layered experience. We watch television, text, read the news, do work, and interact with social media--while touching our partners or families and listening to music in the background. Simultaneously, our daily lives are more intertwined with global issues than ever before. As much as a Monet landscape is representative of modern life in France, Eidsvig depicts the fragmented, connected, and layered experience of our times.

PERSONAL, SOCIAL & INTIMATE

Art has to experience the moment it lives in. The Abstract Expressionists wrestled with post-World War II realities while Renaissance painters dealt with scientific and philosophical rigor in rendering their lives. Our art must do the same.  The challenge is always in connecting the deeply personal to the universal issues we face. Social inequalities, epidemics like gun violence and opioid addiction, civil liberties, and cultural divides provide the underpinning for many Eidsvig Art originals. 

 

SELECT PUBLICATIONS & WRITING CREDITS

Kurt Cole Eidsvig's publishing record and production credits extend over twenty years and span poetry, fiction, playwriting, and essays.

BOOKS

POP X POETRY

Over 350 poems and 40 original artworks. 

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POETRY

The Ekphrastic Review, May 3, 2022. "Are You There God? It's Me, Andy."

Hanging Loose, Issue #112, 2022, "OxyContin for Breakfast."

Poetry and COVID, February 12, 2021, "Must-Have Holiday Emoji Recipes for 2020."

The Deadline, Summer, 2020, "Postponing the Emojis." 

Redline Zine, Issue Number 4, August 2020, "Another Word for Hunger." 

Redline Zine, Issue Number 2, June 2020, "Excerpts from New Symptoms of Quarantine."

District Lit "How To" Issue, May, 2020, "Robberies.

The Dewdrop, April 20, 2020, "Seasonal."

Poems from The Lockdown (Anthology). Willowdown Books, 2020. "In and Out of Quarantine with Persephone."

Poets Reading the News, March 2020, "Sweet & Sticky Mango" (with audio).

Polemical, Issue 11, Volume 1, December 2019, "Microwave Love Poem," and, "The Reasons They Think We Are Moving to Miami." 

Poets Reading the News, November 2019, "The Simple Art of Murder."

Poets Reading The News, September 2019, "120 After Hemingway."

Poets Reading The News, October 2019, "Once Upon a Time in Heaven."

Poets Reading The News, May 2019, "Saying I Love You in Wookiee."

Poets Reading The News, August 2018, "28 Different Spoons."

Decimos, Number 5, March 2018, "Sunday on the Way to L.A."

Decimos, Number 4, March 2018, "Lamplights." 

Decimos, Number 2, December 2017, "Take Aways." 

Decimos, Number 1, November 2017, "Another Train." 

Poets Reading The News, November 2017, "Sending Letters to Tomorrow."

Poets Reading The News, September 2017. "Steam."

The Ekphrastic Review, August 2107, "The Estate of Ideas."

Poets Reading The News, August 2017, "Keeping the Beat."

Poets Reading The News, July 2017, "Empty Tomb."

Hanging Loose, Issue #108, 2017, "Southie" and "Another Word."

Documnt, Issue 1, 2017. "Mixed Messages."

Sourland Mountain Review, Volume 1.1, 2017, "Salmon as Silver / Salmon as Fire."

Big RED and Shiny, October 9, 2014, "Fumes."

Big RED and Shiny, Volume 2, Number 11, August 13, 2013, "23 Exit Signs."

Big RED and Shiny, March, 2013. "Door to the River: After Willem de Kooning."

The Present Tense, February 4, 2013, "I Wish You New (After EL Putnam at Mobius)"

Big RED and Shiny, January 28, 2013, "Poem for Vladimir Umanets."

BurnerMag, Issue #3, Spring 2011, “The Soundtrack of Airport Goodbyes.”

Slipstream, Issue #31, Spring 2011, “Gina from Las Vegas.”

BurnerMag, Issue #2, Winter 2010, “Dear Jukebox.”

Muse & Stone, Fall 2010, “Las Vegas.”

Big RED and Shiny, Issue #130, May 3, 2010, “Picasso on Cocktail Napkins.”

Big RED and Shiny, Issue #126, March 2, 2010, “This Guernica.”

Where the Road Begins, An Anthology. The Cultural Organization of Lowell, 2007, “Parking Lot Destinations.”

Borderlands, Number 23, Fall/Winter 2004, “Falling into Briars.”

Big RED and Shiny, Issue #125, February 14, 2010, “Undulate.”

Big RED and Shiny, Issue #123, January 13, 2009, “The Reason I Hate Gauguin.”

Big RED and Shiny, Issue #122, December 21, 2009, “The Gallery There on Green Street.”

Artpoint, Fall 2007, “Dear Jukebox,” and “The Reason I Hate Gauguin.”

The Masthead, Volume 1, Issue 3, Summer 2006, “Picasso on Cocktail Napkins,” Meet Me at the MOMA,” and “White Numbers.”

South Boston Literary Gazette, Volume 17, Spring 2006, “Lunchtime Near the Pentagon.”

Slipstream, Number 26, 2006, “St. Petersburg.”

South Boston Literary Gazette, Volume 16, Fall 2005, “Counting.”

Hanging Loose, Issue #86, 2005, “Poem for Mandy/Poem for Ron.”

South Boston Literary Gazette, Volume 13, Summer/Fall 2004, “Pinball Music #48: Finding Those Places Underwater.”

Main Street Rag, Volume 8 Number 4, Winter 2004, “When I Die #5.”

Hanging Loose, Issue #84, 2004, “Blue,” and “You’re Probably in Japan By Now.”

South Boston Literary Gazette, Volume 12, Spring 2004, “Chicago,” “Last Will and Testament,” and “The Last Time I Saw Johnny Blockbuster.”

South Boston Literary Gazette, Volume 11, Winter 2003, “Providence.”   

South Boston Literary Gazette, Volume 10, Summer 2003, “Saint Augustine’s.”

Hanging Loose, Issue #81, 2002, “Missoula.”

Hanging Loose, Issue #79, 2001, “Counting.”

The 114th Meridian, Number 1, 2001, “Ring, “Commuting,” and “Fifty.”

CRITICISM & ESSAYS

Big RED and Shiny, Volume #2, Issue #3, December 16, 2012, "NGA: Roy Lichtenstein: A Retrospective."
Big RED and Shiny, Issue #133, July 5, 2010, “Coronation: Claude Monet: Late Work at Gagosian.”
Big RED and Shiny, Issue #132, June 8, 2010, “Fluid Figures: An Interview with Nathalie Vogel.”
Big RED and Shiny, Issue #127, March 16, 2010, “Philip-Lorca diCorcia and in the Making: Impressions from the ICA Collection.”

The Southeast Review, Volume 28 Number 1, 2010, “Gravity, by Michael Davis.

The Southeast Review, Volume 27 Number 2, 2009, “Skirmish by Dobby Gibson.”
Examiner.com, 2008 -– 2009 Boston-area Museum and Art Critic.

FICTION

Decimos, Number 6, May, 2018 "The Truth About Pelicans." 

The Scarlet Leaf Review, April, 2016, "Be Mime." 

The Scarlet Leaf Review, August, 2016, "Marigold in Winter."

VISUAL ART

Let's Stab Caesar! Magazine, Volume 2, June 2022, Handwash.

Redline Zine, Issue 4, August 2020, Help! Loose! (Revised).

Redline Zine, Issue 3, July 2020, Solstice and She'll

Redline Zine, Issue 2, June 2020, Another Take on We Wore Masks.

Polemical, Issue 12, March 2020, Full Moon in Gemini.

Poets Reading the News, March 2020, Leave Don't.

Decimos, Number 2, December 2017, "This is Getting Serious.

Poets Reading The News, November 2017, "Slow Dancing To Open Arms."

Cutbank, Issue #55, Spring 2001, "Bird," 1999, and "Losing Montana-Glacier Park," 2000.

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MONEY WALLS

Making Money Never Looked So Good

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ORIGINAL KURT COLE EIDSVIG ARTWORKS

“Since 1985 contemporary art has been the best bet for investors of the asset class.”

-CNBC 

Kurt Cole Eidsvig completes approximately 20 original artworks per year. Each is available for purchase by contacting Eidsvig Art directly.  With a variety of sizes and mediums, these range from oil-based and acrylic painting to machine prints with hand-embellishment.

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LIMITED EDITION PRINTS

Citigroup advises that “contemporary art continues to outperform other categories” and notes that larger purchase prices are not a requirement for return on investment. “Works under $50,000 offer ‘the best performing price point from both a return and a risk per unit of return basis.’”

Limited edition prints are a more affordable way to invest in art while beautifying your space. 

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BOOKS AND PRINT MULTIPLES

Small run books and print multiples are another way to invest in Eidsvig Art and Kurt Cole Eidsvig's artwork. Visit the shop and stay tuned for digital subscriptions; coming soon.

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COLLABORATIONS & INSTALLATIONS

Central to Eidsvig's practice is working with other creatives. This includes collaborations with collectives as well as one-on-one projects. Whether the collaboration is virtual or for a unique space, get in touch to discuss further possibilities.

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COMMISSIONS

Created with the patron's unique needs in mind, Kurt Cole Eidsvig has crafted individual commissions for a wide range of personal and commercial collections.

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SELECTED EXHIBITIONS

  • Protest Art. The Galleries at CCBC, Baltimore, MD, June, 2020.

  • Paste Modernism 4. AMBUSH Gallery, Sydney, Australia, November 27, 2015 - January 24, 2016.

  • NANA14, new art new artists, juried exhibition. Lucky Street Gallery, Key West, FL, November 25 - December 2, 2014.

  • Snap to Grid. LACDA (Los Angeles Center for Digital Art), Los Angeles, CA, December, 2013.

  • 2012 National Juried Group Exhibition. NK Gallery, Boston, MA, January 6 - 21, 2012.

  • Big Ideas. Art at 12 Gallery, Boston, MA, December 9, 2011 - January 12, 2012.

  • Paper Chase 100, works on paper. FPAC Gallery, Boston, MA, September 15 - 29, 2011.

  • x/o, a visual, sound and spoken-word installation created by Martin Cockroft, Kurt Cole Eidsvig, and Brendan Murray. Produced by the Fort Point Theatre Channel. 311 Summer Street, Boston. April 24, 2010.

  • Stop Traffic, Paintings by Kurt Cole Eidsvig & Photography by Jonathan Stark, Tantric, Boston, MA, June - August, 2009

  • First Show: Large Work, Group Show, Made in Fort Point Gallery, Boston, MA, January - March, 2009

  • Reference Point: New Work, Solo Exhibition, Moakley Federal Courthouse, Boston, MA, April - June, 2008

  • Image for Sale, 3-person show, FPAC Gallery, Boston, MA, July 20 - August 16, 2007

  • Paint, LynnArts Inc., Lynn, MA, 2007Open Studios Group Show, FPAC Gallery, Boston, MA, 2006

GO DEEPER

Watch & Hear an Award-winning Arts Writer Provide In-depth Analysis on Art

An art critic and art historian, Kurt Cole Eidsvig places his work in the context of other artists and popular culture. An arts educator who has taught at UMASS Boston and the Isabella Stewart Museum in Boston, Eidsvig has earned a Warhol Foundation / Creative Capital Fellowship for his work in arts writing. 

A regular contributor or columnist in art history & criticism for publications like Big Red & Shiny, Examiner.com, SpinRecords, ArtsAmerica, Eidsvig has served as guest lecturer and panelist on art for Clark University, UMASS Boston, and the University of Montana. 

Eidsvig's talks on his own art and art history reveal deeper connections and meaning beyond each piece. This is art in a larger cultural context. Come back often and watch his IGTV channel for the latest art talks. 

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