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:

"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

(via jockohomoremix-deactivated20140)