collections from the last place

Here's more from 20x200. This is such a great way to pick up some original art for your home, especially for a young collector.

Organic Oval

Inloveness Revisited

My painting process is rooted in abstract expressionism and the New York School. When I am working, I am in the moment. It is purely an intuitive process.

The practice continues to grow and change as I do. The ovals came into the work in the mid-nineties; they are just a point of departure. My newer work is large, at times monolithic, abstract, and physically demanding to make.

The end result: a painting.

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You can buy extremely affordable prints of many great pieces, including this one by Lauren DiCioccio, at 20x200.

Vanity Fair MAY08:pg269

 
From the artist:

I make sculptures and paintings about my anticipatory nostalgia for obsolescing paper media objects. The softness of a read newspaper page and the glossy slickness of a fresh magazine page are sensations embedded in our physical memory — the familiarity of touching these objects allows a relationship to form in the process of consuming the information they provide. When these objects disappear from our culture and assume the homogeneous texture of a back-lit screen, I fear that some of our intimacy with the process of reading will fade.

Fashion magazines are the source materials for my series color codification dot drawings. I make each piece on a sheet of frosted mylar laid over a magazine page. After assigning a color to every letter in the alphabet (numbers are in grayscale, 0=white and 9=black), I apply tiny dots of paint over every character on the page. Each drawing I make has a different color codification, and therefore a different palette. The resulting painting is a legible blur of dots in the form of the article’s layout — like a system of Braille for the color inclined.

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40fakes had two posts in a row that I really loved and had to share. The first was Kim Cogan, in the previous post, and the next is Brett Amory. I love the collage-like texture of these ones.

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These paintings by young artist Kim Cogan are moody, smooth and evocative of places we've all been. I love the softness of the brushstrokes. Be sure to visit The Art of Kim Cogan for more.

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I randomly came across some abstract paintings by Brian Pimlot, an artist living in Mexico via England and the U.S. I love the feel of them, and checking his website introduced me to his beautiful drawings and watercolours. Take a look below, and visit his website for many, many more, including some paintings that remind me of the watercolours I just posted by Jill Auckenthaler.

El Barrio
24" x 30"
Acrylic on canvas

Muro amarillo
24" x 30"
Acrylic on canvas

La Banda en la Plaza_Ajijic
24" x 30"
Acrylic on canvas

La Tienda_Ajijic
Watercolour

Se vende Pulque_Chapala
Watercolour

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These drawings and projections by Jill Auckenthaler are great. Check out her website for lots, lots more, including sculpture and an intriguing take on sound work.

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I love these homage-to-Pop installations by Guyton/Walker. See more images at Greene Naftali.

To me, it's clever and fun. Here are some Warhol and Lichtenstein images, so you can see how immediate the influence is.

Roy Lichtenstein:

Andy Warhol:

(Of course, these brief images don't exactly exemplify the breadth or highlight of either artists' career. But they show the subject matter, style and technique that have informed Guyton/Walker's work.)

Guyton/Walker is a collaborative effort by Wade Guyton (who did the inkjet paintings I highlighted here) and Kelley Walker, whose work can be seen on Saatchi online.

(Guyton/Walker images via)

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I love all of these concentric circles and the variation of colour. Especially on the range of backgrounds -- black, grey, purple, yellowed grid paper. The negative space is surprisingly dynamic -- look at the triangular grey section at the bottom of this one:

And all of the different colours produce a nice gradient too.

It would be nice to see all of these up close. The precision must be fantastic to see.

Here's two more:

(via)

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There's been a debate raging online about Cory Arcangel's Photoshop CS: 72 by 110 inches, 300 DPI, RGB square pixels, default gradient ‘Spectrum’, mousedown y=1416 x=1000, mouse up y=208 x=42 (2009).



Some people love it, some people don't. I happen to like it myself. You can read more about it here, here and here.

The reason I mention it, however, is because Hrag Vartanian used another artist's work to frame Arcangel's, and I'd like to share it.

Here's some work by Jules Olitski. The comparison is spot-on, even more so than the obvious comparison to the colour field paintings of Mark Rothko.


Jules Olitski
Comprehensive Dream, 1965


Jules Olitski
Draky, 1966


What do you think?

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