Now this sounds like fun. Marylin Minter's new finger-printed enamel-on-metal paintings like Heavy Metal and Cheshire were produced in collaboration with Wangechi Mutu, who was asked to don red and Yves Klein blue lipstick and regurgitate gold-flecked paint or splash around in puddles filled with a case of vodka and $500 of silver cake powder. (Currently on view at Salon 94 Bowery)
An old favorite popped into my head this morning as I walked to work. I first saw the Men In The Cities series by Robert Longo in a magazine in 1986 and am pretty sure that was the exact moment I began to think about art as work rather than decoration. Thanks Randolph Elementary School Reading Loft.
The fluid, organic oil paintings of I Wayan Sudarsana Yansen seem to be slowly changing right in front of your eyes. Look closer and you can just as easily get lost in examining the process. While I hate superficial comparison, these do stir up a nice reminder of the experimental paintings my old friend Josh Becker was creating back in the day.
Found via FFFFound.com
While Peter Alexander is best known for his beautiful resin sculptures, I have always been much more attracted to three specific series of LA-centric paintings and monoprints he created between 1988 and 1995. I think LAX, Riots, and City Nights are most captivating in the way they strip away everything except the artificial light sources.
At first, Phil Ashcroft's paintings appear as sharp, abstract works. But look at them a little longer and you'll clearly see a cartoon or comic book style with elements of graffiti emerge. On his site, Ashcroft admits to a heavy abstract expressionist influence to which he incorporates other varied visual styles like British landscape, Japanese woodcuts and graphic street art to "generate a crossover between space, object and environment".
Incredible work by Andy Denzler. Understandably, these much blogged about paintings seem to illicit an immediate comparison to Gerhard Richter and damaged videotape. I'll give that to you on a purely visual basis, but there is an important difference in the intention of the process. Conceptually, Denzler's figures emerge from "nothing" or the abstract, while Richter's process deconstructs realism by removing you a step or two from the original. Whether or not they both end up in the same thematic place of memory/perception is a fun argument. I'll buy the drinks.