#Alessandro Pagani #painting #artAlessandro Pagani.Cranium, 2011. Oil on canvas, 70 x 50.
As an artist, Clark is concerned with the function of objects in material culture and makes works that engage and consider the life span of the objects as well as their heritage and legacy.
(Source: dialectics8)
#marx #karl marx #marxism #socialism #Frida Kahlo #art
#art #painting #Hello KittyFerris Plock, Hello, 2011, Acrylic on Wood Panel, 20” x 30”
Exhibition Just For One Day at The Shooting Gallery, October 1–29, 2011
Thomas Corriveau
b. Sainte-Foy, QC (1957)
“Claude et Dominique” (1986)
“Le secret” (1989)
“7 jours dans la ville” (1993)
“Face à Boris (Boris 4)” (1998)
#brion-gysin #art #mixed mediaBrion Gysin (1916-1986, British/Canadian). Plateau Beaubourg, 1974. Ink and collage on paper, 9.8 x 13.4 in
c86:
#brion gysin #art #automatic #drawing #glyphs #calligraphyBrion Gysin, 1959
via Reckon
The dreamachine (or dream machine) is a stroboscopic flicker device that produces visual stimuli. Artist Brion Gysin and William S. Burroughs’s “systems adviser” Ian Sommerville created the dreamachine after reading William Grey Walter’s book, The Living Brain.
A dreamachine is “viewed” with the eyes closed: the pulsating light stimulates the optical nerveand alters the brain’s electrical oscillations. The user experiences increasingly bright, complex patterns of color behind their closed eyelids. The patterns become shapes and symbols, swirling around, until the user feels surrounded by colors. It is claimed that using a dreamachine allows one to enter a hypnagogic state. This experience may sometimes be quite intense, but to escape from it, one needs only to open one’s eyes. (-Wikipedia)
#art #paintingBarnaby Furnas, The Twins, 2011, water dispersed pigments, colored pencil, seral transfer and acrylic on linen, 103.8 × 83.2 cm, / 40 7/8 × 32 3/4 ins, (MA-FURNB-00146)
#painting #art #women #foodLee Price‘s realist paintings of women (mostly her) eating sweets and junk food. She draws two contrasts. First, she makes very public something we are supposed to do only in private. Not only do the paintings literally display the transgression, the birds eye view and frequent nudity exaggerates the sheer display of the indulgence. And, second, she takes something that is supposedly disgusting and shameful and presents it in a medium associated with (high) art, challenging the association of indulgence with poor character and a lack of refinement. Fascinating.
The next two are not safe for work because of nudity, so they’re after the jump: