the madman

// @josh.ur //

[petersonreviews]

A Bigger Splash by David Hockney

Acrylic on canvas, 1967

[standingatthefence]

Asako Narahashi, Half Awake and Half Asleep in the Water, Kawaguchiko #7, 2003, Chromogenic Print

[j-g-marshall]

LTD edition tee shirt design for King Krule London show 19/9/17

[laclefdescoeurs]

Woman at a Hot Spring Hotel, 1920, Hashiguchi Goyō

[fujiwara57]

Hashiguchi Goyō  橋口五葉 (1880 - 1921).

[topcat77]

Steven Aalders   b 1959 Dutch minimalist

 ~ “Januari”, 2003

 Oil on linen

[middleamerica]

Reto Schmid

[997]

William Turnbull’s Leaves 1967

[lil--lulu]

[secretcinema1]

Billie Holiday, 1958, Jean-Pierre Leloir

[rappcats]

Miles Davis Billie Holiday Johnny Cash Charlie Rouse and Thelonious Monk Photos by Don Hunstein

[pleviose]

Wolfgang Tillmans, Venus, transit (2004)

[furtho]

Wolfgang Tillmans’ I Don’t Want To Get Over You, 2000 (via here)  

[artcatssummer-blog]

The Golden Wall, 1961. Oil on canvas, Hans Hoffman.  

Hoffman’s late painting (from 1958 to 1966) centered on a defined opposition between hard geometry and painterliness, as in The Golden Wall. Some late works include only loose gestures or precise, geometric forms.  Most, however, involve a new synthesis of, on one hand, the fauvist palette and the Cezanne-inspired structural rationality of the late-thirties landscapes with, on the other hand, Kandinsky’s free brushwork and his romantic spatial organization.  These paintings reflect the precision of Hofmann’s analysis of color relationships and their structural implications.  

With the rectangles, which dominate Hofmann’s compositions by 1958, the artist leads the viewer around the space in a processional way, as in a plan for a classical building.  The viewer discovers the spaces through these defining forms.  Mondrian’s writings on the contrast of rectangles to other forms helped Hofmann refine one aspect of this language, and the picturesque complexity of Kandinsky’s spatial systems informed another. Hoffman’s distinction between shifting and overlapping rectangles - both retreating and advancing in space - is a subtlety that grew out of his concept of “push and pull.”

[flashofgod-deactivated20190121]

Stephen Shore, Beverly Boulevard at La Brea Avenue, Los Angeles, California, 21 June 1975.

[softpyramid]

Stephen Shore Amarillo, Texas, August, 1973 C-print 16 x 20 inches

[theimagerie]

Stephen Shore, Room 125, Westbank Motel, Idaho Falls, Idaho, July 18, 1973

[hypmos]