July 24, 2014
Colleen Heslin, 
Violet and Marigold, ink and dye on cotton, 40x30”, 2014

lookin’ good bruh

Colleen Heslin, 

Violet and Marigold, ink and dye on cotton, 40x30”, 2014

lookin’ good bruh

(Source: colleenheslin)

July 23, 2014
Mercer Union

imageimageimageimage

The Memory of My Country Spoils My Walk

Niall McClelland, Jeremy Jansen & Jesse Harris

Mercer Union - Backroom

20 June 2014 - 26 July 2014
Opening Reception 20 June 2014 7pm

July 20, 2014

July 10, 2014

Hudson

Deep Kissing, 1986

July 1, 2014

Asphalt Watches now available to rent or buy! 

https://vimeo.com/ondemand/asphaltwatches

(Source: tim-barber)

June 23, 2014
De-Pict - Gallery Nosco

I’ll be showing a few new pieces next week with Lauren Seiden, Louise Fishman and a few others at Gallery Nosco in London.

June 20, 2014
Next Week

Raving Disco Dolly on A Rock ‘n Roll Trolley

Envoy Enterprises

June 26 - Aug 24, NYC

Opening reception June 26, 6 - 8

As in looking at a carpet, by following one color a certain pattern is suggested, by following another color, another; so in life the seer should watch that pattern among general things which his idiosyncrasy moves him to observe and describe that alone.

- Thomas Hardy

Art is the only domain of the mind in which a man may say: I will believe if I want to, and if not, I shall not believe.

- Baudelaire

What business have we with art at all unless all can share it?

- William Morris

An art, which does not have emotion as its basis, is not an art.

- Cézanne

In an effort to lighten up the cerebral, Raving Disco Dolly on A Rock ‘n Roll Trolley is a celebration of the potential enlightenment of the politburo of art.

Pushing the concept of visual language forward, the exhibition explores the intuitive vs. the scientific and juxtaposes issues such as the digitalization of life, with the theory that it is better to understand an art work’s message than to admire it for its own sake.

Addressing the often inexplicable process of material and visual decision making involved in creating art, an effort is made to introduce the academic to the playful (and vice versa).

Formal devices such as size, spatial relationships and repetition, provide an exchange between the visible and the invisible, while fundamental questions about reification underscore the tension provoked by the variety of works on display.

Talking about the ‘visual arts’ without including performance, dance and film would be like talking about agriculture minus grain and vegetable crops. Throughout the exhibition these fields are brought together by exploring the migration of one realm of meaning into another. 

Each in their own way, the works in Raving Disco Dolly on A Rock ‘n Roll Trolley participate in the confrontation and exploration of a discursive structure. As a group, they form a continuum that challenges the dominance of discourse over visual and sensory properties in both artistic production and exhibition-making.

Participating artists: Lisa Beck, Maura Biava, Kasper Bosmans, Carol Cole, DV-i, David Alexander Flinn, Nils Erik Gjerdevik, Tilman Hornig, James Howard, Hudson, Duron Jackson, Erika Keck, Amanda Lear, Charles Long, Niall McClelland, Rachel Mason, Rachael Milton, Ellen Nielsen, Jim Shaw, Manuel Solano Lozano, Wesley Stokes, Apna Thacker, Ryan Whittier Hale and Sebastian Wickeroth.

Pseudo invisible footnote: Explanation stops here.

Image: Ellen Nielsen, Party Girl, Inkjet print, 2014.

June 19, 2014

"That’s Just the Way it Ended"

2014

June 16, 2014
Clint Roenisch - New Gallery

Seeya There

June 12, 2014
David Hockney
Panamá Hat (echting with aquatint), 1972

David Hockney

Panamá Hat (echting with aquatint), 1972

(Source: ravenryu, via jessiethatcher)

June 11, 2014

"Bootleg (BadDay Grass)

&

"Curb (Ankle Breakers)"

2014.

April 30, 2014

Myself, Marcel Van Eeden, Harold Klunder and Tony Romano at Papier 14 last weekend w/ Clint Roenisch Gallery.

April 29, 2014
Claude Monet Vétheuil dans le brouillard, 1908

Claude Monet
Vétheuil dans le brouillard, 1908

(Source: etceterablog, via jesuisperdu)

April 28, 2014

Deadpan (Steve McQueen, 1997)

Turner Prize-winning artist Steve McQueen—now best known for his feature films, Hunger, Shame, and 12 Years a Slave—put himself in the line of fire in Deadpan (1997), a restaging of Buster Keaton’s falling house gag from Steamboat Bill Jr. McQueen does more than remake the stunt; his presence as a black man transforms the work into a commentary on race relations and the precariousness of the black experience. 

"Damage Control: How Artists Destroy to Create Art"

(Source: adrowningwoman, via raymondboisjoly)

April 26, 2014
Man infront of Gustave Courbet’s L’origin du monde, 1866, Oil on Canvas, 55 x 46 cm
Photographer unknown

Man infront of Gustave Courbet’s L’origin du monde, 1866, Oil on Canvas, 55 x 46 cm

Photographer unknown

(Source: ocn, via blackistheonlycolor)

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