Pistoletto

Lunch Painting

1965

Leslie Hewitt

Make it Plain (3 0f 5)

2006

Thomas Helbig

Mr. Kurtz

2010

Molly Zuckerman-Hartung

Washington

2009

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

65-L

1965

Martin Barre

Schmagoo Paintings (Intallation View)

2008

Joe Bradley

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.

Silents,

1966,’88,’98

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.

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!

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…”