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Untitled No. 24
Untitled No. 25
Untitled No. 26
Untitled No. 27
Untitled No. 28
Untitled No. 29
Untitled No. 30
Untitled No. 31
Untitled Landscape (Graveyard)
This image was used as a cover of the invitation for "Art about Nothing." Exhibited over ten years ago, in 2004, it is a satire about contemporary life that very much still rings true today. In this exhibition, art is stripped down to it’s basic and simplest level, for without it, no paintings would exist.
After the Accident - Self-Portrait
“After the Accident - Self-Portrait” was featured in Cenedella’s “The Easel Painting Installation; The Easel Painting Revival,” a conceptual series of over thirty canvases which was unveiled at Le Cirque 2000 on March 11th, 2004. This exhibit continued the satirical commentary on art that Cenedella began in the mid-1960’s. The paintings and installations reflect the various movements and "isms" that rose and fell during a career notably independent of passing trends. The series recalls a cavalcade of styles, ranging from geometric abstraction to process art in imagined versions, inspired by, but never reproducing, the original sources.


The central figure in this composition is that of the posterior view of a full-bodied nude woman with up-swept dark hair. Whether she is brandishing a few fine paintbrushes and painting flowers on to the canvas in front of her or holding a small bunch of flowers against a blank canvas is unclear. The figure is substantially volumetric of flesh and space. The anonymous nude woman is surrounded by what appears to be the raw implements of a painter’s studio inside a structure of rough walls, flooring and ceiling; crude and unfinished interior is softened by the presence of generous natural light. The woman in the picture is actually the model who posed at The Art Students League of New York for 25 years.


Impeachment Off the Table
The Impeachment of George Bush is Off the Table.
Bless All In This House


The Senate: No Taxation Without Representation


The Senate: No Taxation Without Representation (with Olbermann)
Keith Olbermann bought the painting and requested to be painted in. Cenedella added Olbermann to the painting in 2012, on the lower left corner.


The Rangers


Toad Hall Gets an "A"
The latest addition to the “Bar Paintings Series” that begun in the late 1970s. It is currently hanging at Toad Hall, NYC.


Don't Push


Fín del Mundo (End of the World)
Fin del Mundo (Triptych) 2016 5'x9' Oil on Primed LinenLoosely inspired by Hieronymus Bosch's infamous The Garden of Earthly Delights, Fín del Mundo presents us with a garden of unearthly delights: a triptych depicting the end of the world as a cornucopia of disasters both natural and man-made.  Much like the illustrious Bosch's work, this 6 x 10 foot mural presents us with detailed vignettes embedded within a titanic, cataclysmic prediction of the inevitable demise of humankind.But unlike Bosch's masterpiece, Cenedella's wasteland is replete with industrial evils, nuclear waste, and the ghosts of capitalism past, present and future; our modern hell, in other words, is plastered with Coke ads and Victoria's Secret logos.  Like the two thieves crucified along with Jesus Christ (who makes his own presence known, albeit with the cynicism of a perfect heretic), the gravest sinners of our contemporary age are pinioned: Big Oil companies, Big Banks, and Big Politicians. In their shadows, one finds a great deal of relevant commentary on the martyrs and victims of globalized greed, personified in the list of names of unarmed black men painted, memorial-style, on the cracked Liberty Bell, as well as the specters of the truly disenfranchised Native-American tribes (the Dakota pipeline protesters in particular).Rather than offer us a mythological, mystical, universal path to hell, rife with demons and gods, Cenedella's painting is intent upon pointing fingers at specific demons of flesh and blood (if a corporation qualifies as one), hitting right at the nose of our contemporary political, environmental and social tragedies.  Ours is a human dilemma, he appears to urge, and our punishment will be meted out by our own hands and not that of any celestial or hellish being.This particular triptych's main centerpiece is flanked by two panels that come as quite a surprise, contrasting in both color and content with the morose yet explosive doomsday prophecy outlined above. The artist, clearly, is able to laugh not only at our incipient extinction, but also at himself and his own creation.The painting's current owner, a private collector who loves controversy, was determined that this painting be seen by the general public before Election Day. Central Park Fine Arts Gallery displayed the painting in the main window just in time for the 2016 presidential election.Cenedella Painting Fin del Mundo Video