Showing only Notes + Links tagged painting
I’m not synesthetic and you probably are not either.
Samurai Tree 1M, 2006, by Gabriel Orozco
For a year, from late summer 2004 through early fall 2005, Orozco worked “shoulder to shoulder” with Picoli, who had not been trained as a painter. But once Picoli’s skills were finely honed, and the project of turning the Invariant diagrams into paintings had been firmly established, Orozco departed. The work of painting is now one that he delegates to Picoli in Paris and Christian Macia in Mexico City.
All the genius mythology that once went together with the studio—isolation, inspiration, struggle, ecstasy, despair—is absent in the making of Orozco’s paintings.
—Ann Temkin
Untitled Fold Painting III by Tauba Auerbach
I made this my desktop so that I can I look at it a lot, and think I like it more every time I see it (though I don’t see it that often due to the number of open windows and tabs I am known for maintaining).
Shatter II by Tauba Auerbach
Acrylic and glass on panel
Exhibiting Paintings, 1967-68 by John Baldessari
Acrylic on canvas, 67 3/4 x 56 1/2 in.
(via jenbee)
Oh MoMA, being cheeky when you go to the wrong screen.
Now you know that Ed Ruscha is useful in other situations than just making you look cool at work because he’s on your wall. Practical applications of art.
Love this.
As Dusk Began To Settle In, 1973, Ed Ruscha
egg white on acetate satin
36 H x 40 W (inches)
An Invasion of Privacy, 1973, Ed Ruscha
grass stains on raw canvas
54 H x 60 W (inches)
Just A Moment Now, 1973, Ed Ruscha
ketchup & egg yolk on canvas
20 H x 24 W (inches)
I had the pressure and honor of writing the newsletter today for 20x200 and introducing the above edition by painter Jessica Snow. I love the way she writes about her work,
My works on paper speak to the relationship between the improvisation and immediacy of gestural drawing and the materiality and meticulous planning of painted form. In this dialogue, the work addresses one of the conundrums of existence: the desire for freedom and spontaneity as well as for routine and order. The mind constantly strives to reconcile these opposing states and swings back and forth, desiring one, then desiring the other.
I’ve never really been particularly interested in painting and drawing but I’m finding myself understanding it in a different way recently. I’m enamored with the constraints/possibilities of pigment and paper.
Feeling a small, useless painter, I created an alternate world that I can menace with difficulties while simultaneously trying my best to stick it back together and rebuild communities and connections.
In my work, I am interested in storytelling, cause and effect, mistake making, finding solutions, what ifs and the everyday. I am fascinated by the resilience of life. Every disaster is followed by rebirth, where we try to cobble together a Plan B out of what remains. My paintings celebrate this fascination and my love of the urban landscape and its creatures.
Digging today’s 20x200 edition, especially the way Amy writes about her work!
Painting by Christopher Wool
Writ large, set tight, almost always capped in a dry, standard typeface available, these artistic decendents of the public notice use banality to be seen and boldness to be read. They slow you down, disrupt you, make you feel the weight of letters and the percussive sounds of speech. Language is a medium made of sounds but also of shapes. We bend it, break it, use it to authorize or to subvert. These explorations by artists and designers play with what language does, how it works, and how it relates us to one another.
An awesome run through a small portion of text based art/design (with a large portion about Lawrence Weiner!) by Rob Giampietro
Inside the Painter’s Studio - The Morning News
“I clean the studio every week. And a lot of times I think while I am cleaning. Usually at the end of each day, I clean up a little. I also clean up and organize at the start of each day—like nesting. It gets me into the work, kind of like pacing.”
— Julie Mehretu, Harlem, New York City
I LOVE this series of looks inside artist’s studios. I’m thinking about things like this too.
(via jenbee)
