Pistoletto
Lunch Painting
1965
Leslie Hewitt
Make it Plain (3 0f 5)
2006
June 24, 2010
June 7, 2010
April 30, 2010
R.I.P.’S AND TEARS
Raymond Hains
Sans Titre
1967
Mark Bradford
Let’s Make Christmas Mean Something This Year
2007
Albert Oehlen
Loa
2007
Lucio Fontana
Concetto Spaziale
1959
April 18, 2010
April 11, 2010
Alexej von Jawlensky
This dude is too tight.
Alexej von Jawlensky
Abstrakter Kopf: Andante
Don’t know how he flew under my radar for so long.
Also, speaking of Reds, the lil’ Malevich show at Guggenheim is pretty nice.
March 10, 2010
February 25, 2010
Roy Newell
Ever heard of this guy? Me neither, but it turns out that he’s tight. Peep him at Carolina Nitsch.
Silents,
1966,’88,’98
February 24, 2010
A nice website
House of Gaga seems like an ill gallery. Also semi related see Alex Hubbard’s show at Maccarone. Which has a nice/weird press release written by Antek Walczak of Bernadette Corporation.
P.s. Speaking of art collectives, I have a little dog painting in the BRUCENNIAL which opens February 25th which is tomorrow!
Here is a recent one that I sold to some dude for the benefit of Haiti. It isn’t the one in the show one, but it looks kinda like it, only weirder colors.
I like how this painting glows
Henry Taylor
Twin Towers or No Title
Acrylic on cardboard box
20 x 20 x 15 inches
he has a show up at Rental Gallery right now!
February 22, 2010
Kaja Silverman
This is a really interesting interview!
Below some highlights that probably don’t make sense out of context!
“What we call “reason” is essentially negation: the definition of what things are through the specification of what they are not. It is thus profoundly divisive. We need to relearn the art of analogical thinking…”
“A photograph isn’t a representation or even an index. It is, rather, a special kind of analogy—the kind that our culture most needs. A photograph and its “referent” have so many affinities that we are unable to separate them from each other, but also enough differences to keep us from conflating them. This couple…helps us to see that similarity is not sameness and that difference does not automatically translate into opposition. They also show us that there really is a world and that not all images are human constructions.”
“Abstraction is often celebrated as the vehicle through which art established its autonomy. Art had to get rid of similitude, because only by being unlike everything else could it shake off the burden of representation and become a thing unto itself. But the notion of an autonomous artwork is closely linked to that of the solitary male subject and is susceptible to the same critique. Not only did a number of modernist artists try to prove that they were self-sufficient by creating autonomous works of art, but their repudiation of aesthetic referentiality was yet another way of rejecting analogy. In fact, there is no separate domain where art dwells…”
