the-drawing-center:

Artist Natalie Frank, whose work will be on display at The Drawing Center in April 2015, donated this fantastic piece to our Fall Benefit Auction. The work is part of her series based on The Brothers Grimm stories. Check out the rest of the work in this year’s auction and place your bids on Paddle8 here.
Image: Natalie Frank, Fairytale, 2011-2014. Gouache and chalk pastel on paper, 30 x 22 in (76.2 x 55.88 cm), Courtesy of the artist, Rhona Hoffman Gallery, Chicago and ACME, Los Angeles.

the-drawing-center:

Artist Natalie Frank, whose work will be on display at The Drawing Center in April 2015, donated this fantastic piece to our Fall Benefit Auction. The work is part of her series based on The Brothers Grimm stories.

Check out the rest of the work in this year’s auction and place your bids on Paddle8 here.

Image: Natalie Frank, Fairytale, 2011-2014. Gouache and chalk pastel on paper, 30 x 22 in (76.2 x 55.88 cm), Courtesy of the artist, Rhona Hoffman Gallery, Chicago and ACME, Los Angeles.

showstudio:

Alfred Hitchcock - Ruth Hogben reference image 

showstudio:

Alfred Hitchcock - Ruth Hogben reference image 

sissydudeomen2:

"Life is a banquet, and most poor suckers are starving to death!"

September 1958. “Rosalind Russell in costume from the film Auntie Mame posed with author Patrick Dennis (E.E. Tanner III).” Photo by Douglas Jones for the Look magazine assignment “The Man Behind Auntie Mame.” via SHORPY

sissydudeomen2:

"Life is a banquet, and most poor suckers are starving to death!"

September 1958. “Rosalind Russell in costume from the film Auntie Mame posed with author Patrick Dennis (E.E. Tanner III).” Photo by Douglas Jones for the Look magazine assignment “The Man Behind Auntie Mame.” via SHORPY

landaupole:

MICHAEL PAUKNER.  Pythagorean Theorem (dedicated to Piet Mondrian).  2010.

landaupole:

MICHAEL PAUKNER.  Pythagorean Theorem (dedicated to Piet Mondrian).  2010.

(via unsaidunlessedsays)

jockohomoremix:

Photo of The Day: Seventies. Newhall, California. Photo: Michael Jang (San Francisco, CA)

jockohomoremix:

Photo of The Day: Seventies. Newhall, California. Photo: Michael Jang (San Francisco, CA)

jockohomoremix:

Cy Twombly 1955

jockohomoremix:

Cy Twombly 1955

jockohomoremix:

"Doig’s [works] offer a distillation of references and experience, albeit one with a somewhat hallucinogenic, giddying cast. His [works] occupy a place between personal and collective experience. He suggests other hinterlands too: the places where the city untidily peters out into the country; the point at which the painter stops attending and begins inventing, and becomes a beholder of the unfolding of an unplotted act… As images these couldn’t be produced in any other way than as [pictures]. There is a hinterland between a depiction… and its delivery, and it is here that Doig’s [works] are at their most specific and descriptive, and the viewer’s sense of displacement is felt most acutely" (A. Searle, quoted in Unbound: Possibilities in Painting, exh. cat., Hayward Gallery, London 1994, p. 30). *Peter Doig, Untitled signed, titled and dated ‘Peter Doig Untitled 1992’ oil and wax crayon on paper

jockohomoremix:

"Doig’s [works] offer a distillation of references and experience, albeit one with a somewhat hallucinogenic, giddying cast. His [works] occupy a place between personal and collective experience. He suggests other hinterlands too: the places where the city untidily peters out into the country; the point at which the painter stops attending and begins inventing, and becomes a beholder of the unfolding of an unplotted act… As images these couldn’t be produced in any other way than as [pictures]. There is a hinterland between a depiction… and its delivery, and it is here that Doig’s [works] are at their most specific and descriptive, and the viewer’s sense of displacement is felt most acutely" (A. Searle, quoted in Unbound: Possibilities in Painting, exh. cat., Hayward Gallery, London 1994, p. 30).

*Peter Doig, Untitled signed, titled and dated ‘Peter Doig Untitled 1992’ oil and wax crayon on paper

jockohomoremix:

‘The drawings I do have very little to do with classical, post-Renaissance drawings where you try to imitate life or make it appear to be life-like. My drawings don’t try to imitate life, they try to create life, try to invent life. That’s a much more so-called primitive idea, which is the reason that my drawings look like they could be Aztec or Egyptian or Aboriginal or all these other things, and why they have so much in common with them. It has the same attitude towards drawing: inventing images. You’re sort of depicting life, but you’re not trying to make it life-like. I don’t use colours to try to look life-like, and I don’t use lines to try to look life-like. It’s also much more Pop, I guess, after growing up in a really carbon- and comic- dominated period. And, also, growing up with Pop art’ (C. Flyman, “Interview with Keith Haring, September 26, 1980” in G. Celant, Keith Haring, Munich 1992, p. 116). *Keith Haring, Untitled, signed and dated ‘K. Haring 83’ (on the reverse) acrylic and fuorescent marker on carved wood. Executed in 1983

jockohomoremix:

‘The drawings I do have very little to do with classical, post-Renaissance drawings where you try to imitate life or make it appear to be life-like. My drawings don’t try to imitate life, they try to create life, try to invent life. That’s a much more so-called primitive idea, which is the reason that my drawings look like they could be Aztec or Egyptian or Aboriginal or all these other things, and why they have so much in common with them. It has the same attitude towards drawing: inventing images. You’re sort of depicting life, but you’re not trying to make it life-like. I don’t use colours to try to look life-like, and I don’t use lines to try to look life-like. It’s also much more Pop, I guess, after growing up in a really carbon- and comic- dominated period. And, also, growing up with Pop art’ (C. Flyman, “Interview with Keith Haring, September 26, 1980” in G. Celant, Keith Haring, Munich 1992, p. 116).

*Keith Haring, Untitled, signed and dated ‘K. Haring 83’ (on the reverse) acrylic and fuorescent marker on carved wood. Executed in 1983