Yayoi Kusama (Japanese, b. 1929), Infinity-Nets (FCPR), 2007. Acrylic on canvas, 162 x 130.5 cm.
cherry valley forever

祝日 / Permanent Vacation
"I'm Dorothy Gale from Kansas"
wallacepolsom

roma★

Kiana Khansmith
Not today Justin
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Sweet Seals For You, Always
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RMH
he wasn't even looking at me and he found me
Claire Keane
2025 on Tumblr: Trends That Defined the Year

blake kathryn
Monterey Bay Aquarium

if i look back, i am lost
Keni
ojovivo
hello vonnie
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@painterspainters
Yayoi Kusama (Japanese, b. 1929), Infinity-Nets (FCPR), 2007. Acrylic on canvas, 162 x 130.5 cm.
Elisheva Biernoff’s paintings of photographs involve close looking and slow painting: lingering over pictures of strangers and paying attention to the overlooked and undervalued. The paintings are simulated artifacts, remade to scale as truly as possible. To create this work, the artist finds photographs of domestic scenes and anonymous people who wouldn’t necessarily be the subject of paintings. The source photographs touch on shared experiences but also have some slightly remarkable or unusual aspect. By painting the photographs, Biernoff brings the latent emotional content to the surface. From her show @fraenkelgallery last summer.
Work by Tala Madani
Better late than never. Luke Butler had a very tight and compelling show at Jessica Silverman Gallery in SF in March/April, 2016.
“Afterimage” features two series of paintings that riff on themes of mortality, self-portraiture and what the artist calls “epic frailty.” The first body of work consists of paintings in which the words “The End” or producer credits such as “L BUTLER PICTURES” run over landscapes and seascapes. Through their appropriations, the paintings have a ventriloquist aspect wherein their objective cinematic appearance masks the revelation of a highly subjective voice. In dialogue with artists such as Ed Ruscha, David Hockney and Vija Celmins, these works rehearse conclusions for which the preceding story is forever a mystery.
In the second body of work, the artist depicts himself as a tragicomic corpse in a variety of settings: naked except for knee socks and floating head down in a pool or surrounded by his art materials in a gray no man’s land. Another image of “the end,” the implied narratives here offer an odd combination of self-abasement and aggrandizement, presenting himself as both a mere casualty and a heroic victim. With nods at Gustav Courbet’s The Wounded Man and Billy Wilder’s Sunset Boulevard, Butler’s Portraits of the Artist puzzle as much as amuse.
Death has long been a theme in Butler’s work. Over a decade ago, as an MFA student at the California College of the Arts, Butler created a work, consisting of his New York Times obituary. Headlined “Luke Butler, 34, Artist, is Gone,” the text piece referred to his “stealth career” and speculated that the cause of death was “sudden contact with an institutional body of some size.” In subsequent series, such as his Star Trek and Starsky and Hutch paintings (2006-present), key figures are often depicted wounded and prone, at moments where they are brought back from the brink.
Contrasting with these “terminal” paintings are life drawings of women, made with pencil and translucent crimson watercolor. Created quickly in the moment from sessions with living models, these works are “humbling, almost athletic experiences,” according to Butler, which “represent a first step, where the paintings represent the last.
Luke Butler (b.1971) has an MFA from California College of the Arts and a BFA from the Cooper Union. His work has been featured in shows and is included in the collections of MOCA San Diego, the Norton Museum of Art (Miami), and Crystal Bridges Museum of American Art (Arkansas). Butler lives and works in San Francisco where he teaches at the San Francisco Art Institute.
Read an interview with Luke at Elephant Magazine:
http://www.elephantmag.com/new-establishment-luke-bulter/
See more work at Jessica Silveman Gallery.
by Carrie Moyer
Carrie Moyer
Pirate Jenny, 2012
by Carrie Moyer
Willem de Kooning
Untitled XII, 1975
Stamatis Papazoglou
Chris Hood, Claw from Above, 2016, Galerie Bernard Ceysson, Geneva, 2016
Chris Hood, Untitled (The Exploding Hearts), 2015
Chris Hood
Chris Hood
Wolfgang Voegele | (Lampenheim)
oil and acrylic on canvas 170 x 130 cm, 66 7/8 x 51 executed in 2017
Josef Albers | WLS VI, from White Line Squares
executed 1966 lithograph in colors, on Arches Cover paper 15 5/8 x 15 5/8 in. (39.7 x 39.7 cm)
Josef Albers | Homage to the square
oil on masonite 16 1/8 x 16 1/8in. (41 x 41cm.) painted in 1962
Josef Albers | Homage to the square: Light inside
executed 1967 oil on Masonite 40 by 40 in. 101.6 by 101.6 cm.