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Magie Dominic

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Magie  Dominic


Magie Dominic, Artist and Writer
Born Corner Brook, Newfoundland.
Member of The League Of Canadian Poets

Art Institute of Pittsburgh: Design
New School University: Computer Studies; Writing

The Dakota Foundation
Adolph & Esther Gottlieb Foundation, Inc
Artists' Fellowship Inc
America The Beautiful Fund
The Shaker Foundation
The Langston Hughes Award For Poetry

Lincoln Center For The Performing Arts, Astor Gallery, New York City. World premiere of experimental theatre history. Organized and researched all aspects of multi-dimensional exhibition, A History Of Off-Off Broadway. Documentation became part of Lincoln Center's Permanent Collection.
Trenton Library for the Blind, New Jersey, Permanent Installation. Designed touchable exhibition of fabric and props with Braille plaques to describe the history of theatre costumes.

The United Nations, New York City. Installation.
La Mama Gallery, New York City. One-person exhibition.
Elizabeth Seton Center, New York City. Installation.
A Space Gallery, Toronto. Installation.
Work of Art Gallery, New York. One-person exhibition.
Painted Bride Gallery, Philadelphia.
Ann Leonard Gallery, New York.
Night Gallery, New York, three-person exhibition.
Woodstock Artist's Association, New York. Over forty juried exhibitions. Jurors included Alice Neel and Edward Chavez.
Tessera, Montreal
The Village Voice, New York
Borderlands, Tokyo
ARC Quarterly, Ottawa
Artists Respond to AIDS, Philadelphia

St. Vincent's Hospital Permanent Collection
The Malcolm Forbes Permanent Collection
Numerous private collections.

About the Gown of Stillness
People look at the same sky, the same images in newspapers, but it's how we respond that makes the difference. Creativity can be individual, but it can also be universal.
In 1994 I contacted poets, writers, artists, politicians, and environmental groups through newsletters, and made a simple request.
I invited them to send pieces of fabric, which I planned to use in an installation I was creating called The Gown of Stillness. I enclosed a note: "If this world were a small child in need of healing, I would buy it a hospital gown, extra large, and give it intensive care. I would ask people all over the world to add beauty, grace and love. The Gown of Stillness is a visual letter, a work in progress."
There was a metaphoric response that was completely and utterly unplanned. Across borders and cultures, across races and faiths, the majority of people worldwide, all strangers to one another, responded with lace. A global language seemed to exist in reference to peace that stepped outside the parameters of language as we know it. Lace equaled language, equaled hope, equaled peace.
The touch of lace, the sound of the word, the sight of delicate thread structures represented an organic, unorchestrated global response to a hope for world calm. Lace became a language defying borderlines.
Currently The Gown contains fabric from seventy-eight people in thirteen countries. Each year its dimensions increase. It currently measures thirteen feet by eleven feet.
There's a place in the middle where we all meet.
This is what I see as I work of The Gown of Stillness, a quiet place in the middle where we all meet.
Magie Dominic, 2002

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