(via Géneration …Etc…)
Puisqu’on enparlait après la visite de l’exposition de la donation Guerlain à Beaubourg, voici le site de Didier Mencoboni avec un aperçu de tout son travail. En cliquant sur la première image on accède à son programme de production infinie informatisée de tableaux.
article de (via FLORENCE DE MEREDIEU: ANTOINE PERROT - LA COULEUR READY-MADE.)
Galerie Rejane Louin à LOCQUIREC.
(via YAGO HORTAL)
Tom Friedman sur le site de (via Ryan Donato)
Josef Albers’ paintings and prints have always left me cold. Maybe it’s because I’ve never been that much of a color guy. I instinctively side with Florentine disegni over Venetian colori (though I routinely melt in front of a Titian or Tintoretto), and I would take an Analytical Cubist Braque or Picasso over a Fauvist Matisse or Derain, a Frank Stella pinstripe over a Frank Stella protractor, any day.
And so for me the intensive investigations into color that Albers (1888-1976) undertook with such diligence never stood much of a chance. It’s not that they weren’t nice to look at, or interesting in a formal way, but to invent a format (the progressively expanding square — or progressively contracting, depending on your point of view) that concentrates solely on color is not unlike inventing a form of performance art that focuses solely on the handshake, but devoid of its implications of propriety, affection, seduction or betrayal. Albers’ trademark “Homage to the Square” paintings seem to exist on a rarified plane where complexity and contradiction are pressed out and wrinkle-free, like a dry-cleaned suit.
Natalie Northrup, “Boob Cake” (2010)
oil pastel on paper
Ted Willis, “KLACKER” (2011)
plywood, acrylic paint, oil stick, metal fasteners. Each section is 1/4”x4”x12”, overall dimensions variable. I found the pieces in a woodworkers dumpster and had them sitting around the studio till I began adding color and putting them together….
(via Alluring Art)
in situ, peinture