Sunday, November 1, 2009

Matt Held

Matt Held, a fine artist with a specilsation in portraiture was blocked. After upping sticks from Seattle to NYC in his late thirties, young family in tow, as a last chance at ‘making it’, he became a stay at home Dad with the couple’s new child. Nothing he did worked. Until, as an exercise in skintone, he painted his wife’s facebook profile photo. Shortly after, the “I’ll have my portrait painted by Matt Held” facebook group was born, and Matt was presented with no end of source material, inspiration, and an instant international network of influencers. Brooklyn Museum came calling, the blog posts spread and his numbers soared. We hang with Matt’s family, and talk to No.16, No.33 and No.36 about why they were keen to be painted by someone they’ve never met, and what the project means to them.
Click here to go to the site.

Wednesday, October 21, 2009

Friday, October 9, 2009

Saturday, October 3, 2009

Friday, October 2, 2009

Jose De la Barra


Check out more work by this artist at Artist/rising.

Light Graffiti (AK)


Daniel Schwartz is a sophomore at Penn who moonlights as a light graffiti artist.

It's interesting to note that Picasso and Photographer Gjon Mili experimented with this back in the 40's. These are from 1949.
See Below.


It's interesting to note that Picasso and Photographer Gjon Mili experimented with this back in the 40's. These are from 1949.

Wednesday, September 30, 2009

Saturday, September 26, 2009

Gosia Wlodarczak (BH)


AFETY ZONE IS THE HUMAN NEED TO HAVE/ESTABLISH A ZONE OF SECURITY (PHYSICAL OR MENTAL), A SPACE IN WHICH TO FEEL SAFE, COMFORTABLE, AT HOME WHEN THE MIND CANNOT FOCUS, WAITING FOR UNEXPECTED INVADERS; WHEN, AT NIGHT, THE BODY CANNOT RELAX TWISTED IN READINESS TO GET UP AND RUN… SAFETY ZONE IS THE NEED TO HAVE/ESTABLISH A ZONE OF STABILITY, A PLATFORM OF DISCOURSE WHEN THE ACTUALITY OF THE PERSONAL, CULTURAL AND ARTISTIC MIND-SET IS CONSCIOUS IN TWO LANGUAGES, POLISH AND ENGLISH; WHEN THIS CONSCIOUSNESS CREATES UNPREDICTABLE MOMENTS DURING WHICH ONE IS NOT ABLE TO COMMUNICATE IN WORDS—A ‘SPACE’ BETWEEN LANGUAGES; WHEN THIS VOID NULLIFIES IDENTITY, AND PRODUCES A SENSE OF DISPLACEMENT, CONFUSION AND FEAR; WHEN IN THE PROCESS OF THINKING EACH LANGUAGE OCCURS/DISAPPEARS SPONTANEOUSLY AND INEXPLICABLY; WHEN NEW LANGUAGE PENETRATES INTO DISTANT MEMORIES, INTO OLDER LAYERS OF KNOWLEDGE, AND RESHAPES THEM; WHEN OLD LANGUAGE SLIPS AWAY AND CHANGES INTO INCORRECT, CRIPPLED FORMS…. Gosia Wlodarczak
Click here for more info.
Also check out her installations by clicking here.

Saturday, September 19, 2009

Bob Nugent "Amazonia"



Bob Nugent , "Amazônia" Instituto Tomie Ohtake, São Paulo, Brazil, March 18 - May 10, 2009

On March 18th, Tomie Ohtake Institute in Sao Paulo, Brazil opened its doors to "Amazônia", a monumental piece Bob has been working on for the past 3 years. The 340ft. long drawing is a representation of Bob’s experiences with the Amazon River.

Thursday, September 17, 2009

Walton Creel: Deweaponizing The Gun (MM)



DEWEAPONIZING THE GUN - Walton Creel

The terms gun and weapon are practically interchangeable. From hunting to war, self defense to target practice, the gun has been a symbol of power and destruction. Art and entertainment have both taken the same approach to he gun. Traveling Wild West shows had gunslingers that shot crude silhouettes and names, but this was done to illustrate the shooters prowess. Some artists have used high speed film to capture a bullet slicing through its target, while other artists have melted guns into sculptures.

When I decided I wanted to make art using a gun, I was not sure what direction I would have to take. I knew I did not want to use it simply as an accent to work I was doing, but as the focus. My main goal was to take the destructive power away from the gun. To manipulate the gun into a tool of creation and use it in a way that removed it from its original purpose. To deweaponize it.

During my first experiment I came across the concept of creating an image hole by hole on a surface. I also figured out that canvas would be too stressed by the process of a rifle firing many bullets into it. I moved on to aluminum and, with further experimentation, I figured out exactly how far apart my shots needed to be and that moving beyond .22 caliber was simply too destructive. When the aluminum was painted beforehand, the blast of the gun knocked off a tiny amount of paint around each hole, which helped fuse the image together.

Click here for more information.

Thursday, April 9, 2009

Vintage Life Drawing Classes (b)

Art Students League, 1940 New York
1940, Rochester Athenaeum & Mechanics Institute
Life drawing class, 1930.