Ryan Blackwell

[rblackwell-blog]

[rblackwell-blog]

Glaze tests

[rblackwell-blog]

To Contemplate dying each day brings forth a view with more wisdom. It reorients us and keeps us moving in the right direction, toward deeper wisdom and into greater love. To contemplate dying each day calls forth an instant reordering of priorities. Just like a quick and deliberate shake of a kaleidoscope, it creates a whole new patterning, a whole new view... ...If we were to take to heart the fact of our fleeting and precarious existence, would we really continue all of our worldly striving and consuming? ... How many of our grudges and disappointments would still seem important? ... Would we still leave the words of gratitude and forgiveness and of love unspoken? How would we greet each wondrous being that engages in connection with us? How would we live each day differently? - Kathleen Dowling Singh

[rblackwell-blog]

Jacob Van Loon

Station XIV

16 x 12 inches

[rblackwell-blog]

Travis LaMothe

[rblackwell-blog]

Joel Monty

[rblackwell-blog]

Travis LaMothe

Generics (E005A), 2014

24 x 24 x 2 Inches

[rblackwell-blog]

Joel Maurice Brian Monty

"Maurice's Funeral" 2014

acrylic on canvas

20 x 16 inches

[rblackwell-blog]

Tom Shelton

Colored Potatoes & Brown Potatoes, 2014

oil pastel and pencil on paper

29 x 37"

[rblackwell-blog]

Fumihiro Matsuzaki

UntitledI, 2014

ink, pencil, oil pastel and charcoal on paper 

18 x 24 inches

[rblackwell-blog]

Tom Shelton

Potato Pyramid, 2014

21 x 30 inches

[rblackwell-blog]

Tom Shelton

Potato Triangles, 2014

colored pencil

21 x 30 inches

[pppots]

Keith Haring, Untitled 1984, from “The Political Line” at the deYoung Museum, San Francisco

[rblackwell-blog]

Ryan Blackwell fulton & nostrand, 2014 digital painting

[rblackwell-blog]

Ryan Blackwell

spick-and-span (smoke em' if you got em') 2014

porcelain in handmade frame

25 x 6 x 2.75 inches

[tomsachs]

Model One, 1999, mixed media, 32 x 41 x 14 inches an early boombox of mine, preparing for #BoomboxRetrospective @contemporaryatx in January 23, 2014 The Contemporary:Austin TEXAS

[the-drawing-center]

The Drawing Center’s Sari Dienes exhibit, which opened last night and is on view through November 16, is the first museum show ever devoted to the artist.

In the early 1950s, Sari Dienes used experimental processes to create bold works on paper, impressing into her pictorial support the gritty and vibrant terrain of New York City’s streets. Her transfer drawings of subway grates, sidewalks, and manhole covers produced images that were at once abstract patterns and highly recognizable subjects. These drawings had a profound formal, technical, and iconographic impact on a young generation of artists, including Robert Rauschenberg and Jasper Johns. While widely exhibited and well–received at the time of its creation, her work has been largely overlooked in recent decades. This exhibition highlights her practice and sheds new light on her legacy. Curated by Alexis Lowry Murray and Delia Solomons.