bofransson:

Parrot
George Wesley Bellows - 1915

bofransson:

Parrot

George Wesley Bellows - 1915

04/15/14
bofransson:

Still Life with Blue Sugar Bowl
Raoul Dufy - 1919

bofransson:

Still Life with Blue Sugar Bowl

Raoul Dufy - 1919

04/15/14
bofransson:

Still LIfe with Red Carpet (also known as Oriental Rugs)
Henri Matisse - 1906

bofransson:

Still LIfe with Red Carpet (also known as Oriental Rugs)

Henri Matisse - 1906

04/15/14
bofransson:

The Joy of Life (study)
Henri Matisse - 1905

bofransson:

The Joy of Life (study)

Henri Matisse - 1905

04/15/14
04/15/14

+/-

“I don’t know that I can say it’s art, but I think it’s weirder that Pace would show them than that he would make them.” Cindy Sherman on James Franco’s latest exhibition.

04/15/14
blastedheath:

Henri Matisse (French, 1869-1954), Paysage à Collioure, c.1905-06. Oil on panel, 40.5 x 31.7 cm.

blastedheath:

Henri Matisse (French, 1869-1954), Paysage à Collioure, c.1905-06. Oil on panel, 40.5 x 31.7 cm.

04/15/14
aqqindex:

Shiro Kuramata, Nara Table, 1983

aqqindex:

Shiro Kuramata, Nara Table, 1983

04/15/14
davidsimonton:

Sombreros, Ecuador, 1984, Photo by Manuel Álvarez Bravo 

davidsimonton:

Sombreros, Ecuador, 1984, Photo by Manuel Álvarez Bravo 

04/15/14
new-aesthetic:

Art Of The Bush School | greg.org: the making of, by greg allen

This is as good a time as any to point out that Bush painted his portraits, not just from photographs—a common enough practice as well as a long-established conceptual strategy, though I think only the former pertains here—but from the top search result on Google Images. Many photos were taken from the subject’s Wikipedia entry. Bush based his paintings on the literally first-to-surface, easiest-to-find photos of his subjects. Is this meaningful in any way? If he had one, it would mean Bush’s studio assistant is very, very lazy. But in all his discussion of it, Bush’s painting practice appears to be a solitary one. He apparently did not tap the enormous archive of photos, taken by the professionals who followed him every day for eight years, which are contained in his giant library. Instead, it seems, he Googled the world leaders he made such impactful relationships with himself, and took the first straight-on headshot he saw. […] The point is, once again, art matters. Art has surfaced in the most dire circumstances, at a crucial moment in our society’s history, produced by someone whose actions and moral standing confound our engagement with it. And culturally speaking, we don’t care; we’d rather see Bush’s folksy pictures from the internet. Every news story about Bush’s paintings represents ten reports not filed about Bush’s torture. In the art world, meanwhile, we’d rather not see it at all. Better to condemn and dismiss it quickly. Snark and move on. Stoke the indignance that keeps us and our practices unsullied. Ward off any engagement with cowering incantations of connoisseurship and facture. This is how art appears in our society today. Art works, as they say, and this is what it does: it absolves and redeems and defuses and deflects. Ultimately, George Bush’s paintings are important less for what they show, than for what they obscure. And the art world’s critical structures seem unable or unwilling to meet the challenge posed by the art of the torture & terrorism school.

new-aesthetic:

Art Of The Bush School | greg.org: the making of, by greg allen

This is as good a time as any to point out that Bush painted his portraits, not just from photographs—a common enough practice as well as a long-established conceptual strategy, though I think only the former pertains here—but from the top search result on Google Images. Many photos were taken from the subject’s Wikipedia entry. Bush based his paintings on the literally first-to-surface, easiest-to-find photos of his subjects. Is this meaningful in any way? If he had one, it would mean Bush’s studio assistant is very, very lazy. But in all his discussion of it, Bush’s painting practice appears to be a solitary one. He apparently did not tap the enormous archive of photos, taken by the professionals who followed him every day for eight years, which are contained in his giant library. Instead, it seems, he Googled the world leaders he made such impactful relationships with himself, and took the first straight-on headshot he saw. […] The point is, once again, art matters. Art has surfaced in the most dire circumstances, at a crucial moment in our society’s history, produced by someone whose actions and moral standing confound our engagement with it. And culturally speaking, we don’t care; we’d rather see Bush’s folksy pictures from the internet. Every news story about Bush’s paintings represents ten reports not filed about Bush’s torture. In the art world, meanwhile, we’d rather not see it at all. Better to condemn and dismiss it quickly. Snark and move on. Stoke the indignance that keeps us and our practices unsullied. Ward off any engagement with cowering incantations of connoisseurship and facture. This is how art appears in our society today. Art works, as they say, and this is what it does: it absolves and redeems and defuses and deflects. Ultimately, George Bush’s paintings are important less for what they show, than for what they obscure. And the art world’s critical structures seem unable or unwilling to meet the challenge posed by the art of the torture & terrorism school.
04/15/14