MSCD advanced painting studio

Vanitas and Death

phillip faulkner — Wed, 22 Feb 2012 21:37:54 +0000

harmen steenwyck

adrien van utrecth

nicholas orsini

ivan le lorraine albright

http://www.nyartsmagazine.com/skin/the-modern-vanitas

Fernando Vicente

http://www.ill-studio.com

Léonard Vernhet and Thomas Subreville

james hopkins

damien hirst

Shintaro Ohata_sculpture meets paintings

phillip faulkner — Mon, 20 Feb 2012 22:00:23 +0000

Xia Xiaowan_3d paintings

phillip faulkner — Mon, 20 Feb 2012 21:52:35 +0000

Artist: Xia Xiaowan

phillip faulkner — Mon, 20 Feb 2012 21:48:17 +0000

Gajin Fujita_mash up

phillip faulkner — Mon, 20 Feb 2012 21:45:00 +0000

Dean Cromwell_vignettes

phillip faulkner — Mon, 20 Feb 2012 21:38:36 +0000

http://artandinfluence.blogspot.com/2009/01/dean-cornwell-vignettes-by-armand.html

A Critique of Abstract Expressionism_Leon Golub

phillip faulkner — Wed, 15 Feb 2012 22:11:18 +0000

The Irascibles protest their exclusion from a New York exhibition in 1950. Back row: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, and Hedda Sterne; middle row: Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, and Bradley Walker Tomlin; front row: Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, and Mark Rothko.

LEON GOLUB

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ABEX

pierre soulage

georges mathieu

jean paul riopelle

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giacometti

jean dubuffet

joseph glasco

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jackson pollock

robert motherwell

clyfford still

james brooks

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david reed

brice marden

mark bradford

Core New Art Space – 2012 Core Juried Shows

phillip faulkner — Wed, 08 Feb 2012 04:05:25 +0000

Core New Art Space – 2012 Core Juried Shows.

specifically the WOW show. deadline march 4th.

LACMA_in wonderland

phillip faulkner — Mon, 06 Feb 2012 21:17:44 +0000

In Wonderland: the surrealist adventures of mexican and american female painters

January 29, 2012–May 6, 2012

North America represented a place free from European traditions for women Surrealists from the United States and Mexico, and European émigrés. While their male counterparts usually cast women as objects for their delectation, female Surrealists delved into their own subconscious and dreams, creating extraordinary visual images. Their art was primarily about identity: portraits, double portraits, self-referential images, and masquerades that demonstrate their trials and pleasures. The exhibition includes works in a variety of media dating from 1931 to 1968, and some later examples that demonstrate Surrealism’s influence on the feminist movement. Iconic figures such as Louise Bourgeois, Leonora Carrington, Frida Kahlo, Lee Miller, Kay Sage, Dorothea Tanning, and Remedios Varo are represented, along with lesser known or newly discovered practitioners.

Whitney_real/surreal

phillip faulkner — Mon, 06 Feb 2012 21:13:30 +0000

canvas, 24 × 29 in. (61 × 73.7 cm). Whitney Museum of American Art, New
York; purchase with funds from the Simon Foundation Inc. 72.129. © 2009
Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris” />

Man Ray (1890–1976), La Fortune, 1938. Oil on canvas, 24 × 29 in. (61 × 73.7 cm). Whitney Museum of American Art, New York; purchase with funds from the Simon Foundation Inc. 72.129. © 2009 Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris

This exhibition, drawn entirely from the deep holdings of the Whitney Museum’s permanent collection, will focus on the tension and overlap between two strong currents in twentieth century art. Although the term “realism” has many facets, a basic connection to the observable world underlies all of them; the subversion of reality through the imagination and the subconscious lies at the heart of Surrealism. Yet there are convergences in these different and even oppositional approaches to experience, and they encourage new ways of looking at the art of the twenties, thirties, and forties in America. For example, Edward Hopper, famous for chronicling New York urban life, is also a painter whose own subjectivity and imagination are integral to his work. Many artists who developed imagery based on new and very specific, concrete conditions of industrial American, such as Charles Sheeler, were essentially interested in artificial worlds and presented these as distillations of reality. Even totally abstract painters such as Yves Tanguy depended on techniques developed from traditional, realist art to render bizarre worlds. By willfully distorting such techniques, Helen Lundeberg and Mabel Dwight could quietly undercut our sense of stability even while showing us recognizable and even mundane objects and settings. Understanding surrealism as above and beyond the real necessarily ties it to representation and reality, just as realist painting can be imaginative and bizarre without breaking with rational observation. The exhibition will feature sixty-five works in painting, drawing, photography, and printmaking juxtaposed in ways that elucidate how artists developed qualified degrees of reality where the imagination held more or less sway, depending on intention and influence.

Real/Surreal is organized by Whitney curator Carter Foster.