avril 3, 2014
butinages:

(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.http://www.menconboni.net

butinages:

(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.
http://www.menconboni.net

avril 2, 2014
mencoboni.com

polguezennec:

peinture et couleur

mars 30, 2014
polguezennec:

article de (via FLORENCE DE MEREDIEU: ANTOINE PERROT - LA COULEUR READY-MADE.)
…
Galerie Rejane Louin à LOCQUIREC.http://www.galerierejanelouin.fr/

polguezennec:

article de (via FLORENCE DE MEREDIEU: ANTOINE PERROT - LA COULEUR READY-MADE.)

Galerie Rejane Louin à LOCQUIREC.
http://www.galerierejanelouin.fr/

décembre 4, 2012
(via YAGO HORTAL)

(via YAGO HORTAL)

décembre 1, 2012
Tom Friedman sur le site de  (via Ryan Donato)

Tom Friedman sur le site de (via Ryan Donato)

août 31, 2012
hyperallergic:

The Square in the Raw: Josef Albers’ Unguarded Moments

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.

hyperallergic:

The Square in the Raw: Josef Albers’ Unguarded Moments

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.

août 31, 2012
hyperallergic:

Natalie Northrup, “Boob Cake” (2010) oil pastel on paper

hyperallergic:

Natalie Northrup, “Boob Cake” (2010)
oil pastel on paper

mai 14, 2012
hyperallergic:

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….

hyperallergic:

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….

mars 29, 2012
(via Alluring Art)

(via Alluring Art)

mars 15, 2012
Ronald Davis, 2009

Ronald Davis, 2009

mars 15, 2012
nathaliegaouyer:

in situ, peinture

nathaliegaouyer:

in situ, peinture

mars 1, 2012
pattern1a (par paulamills)

pattern1a (par paulamills)

février 29, 2012
(via NGV  > What’s On > Exhibitions > Exhibitions > NGV Studio)

(via NGV  > What’s On > Exhibitions > Exhibitions > NGV Studio)

décembre 15, 2011
Les travaux de Didier Mencoboni, à découvrir sur son site.

Les travaux de Didier Mencoboni, à découvrir sur son site.

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