Tag Archives: painting

Michael Kagan’s Space-Based Paintings Explore the Fatalistic Power of Manmade Machinery

Contact Light, 2014, Oil and linen, 60 x 45 inches

Contact Light, 2014, Oil and linen, 60 x 45 inches

Heavily tinted blue paintings form space stations, spacesuits, and rockets just after blast. Michael Kagan paints these large-scale works to celebrate the man-made object—machinery that both protects and holds the possibility of instantly killing those that operate the equipment from the inside. To paint the large works, Kagan utilizes an impasto technique with thick strokes that are deliberate and unique, showing an aggression in his application of oil paint on linen.

The New York-based artist focuses on iconic images in his practice, switching back and forth between abstract and representational styles. “The painting is finished when it can fall apart and come back together depending on how it is read and the closeness to the work,” said Kagan about his work. “Each painting is an image, a snapshot, a flash moment, a quick read that is locked into memory by the iconic silhouettes.”

Kagan exhibited this series of space-based paintings last year at Joshua Liner Gallery in an exhibition titled Thunder in the Distance. He was also recently commissioned by The Smithsonian to create three large paintings inspired by their air and space archives. You can see more of his work on his Instagram here. (via Fubiz)

One Day This Will All Be Yours, 2014, Oil and linen, 60 x 80 inches

One Day This Will All Be Yours, 2014, Oil and linen, 60 x 80 inches

Reflector, 2014, Oil and linen, 36 x 36 inches

Reflector, 2014, Oil and linen, 36 x 36 inches

We Live On In The Thoughts Of Others, 2014, Oil and linen, 36 x 36 inches

We Live On In The Thoughts Of Others, 2014, Oil and linen, 36 x 36 inches

Apollo, 2010, Oil and linen, 60 x 34 inches

Apollo, 2010, Oil and linen, 60 x 34 inches

Supersonic, 2014, Oil and linen, 72 x 54 inches

Supersonic, 2014, Oil and linen, 72 x 54 inches

Mankind, 2014, Oil and linen, 96 x 54 inches

Mankind, 2014, Oil and linen, 96 x 54 inches

With All The F*cking Force, 2011, Oil and linen, 60 x 80 inches

With All The Fucking Force, 2011, Oil and linen, 60 x 80 inches

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A Peek Inside the Galleries and a Playlist of Short Films Showing at Banksy’s Dismaland

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Dietrich Wegner / Photo by Christopher Jobson for Colossal

The fun thing about Dismaland is that in addition to pieces by Banksy, you get to immerse yourself in the works of 58 additional artists, and films by 22 directors and animators. It’s impossible to grasp the scope of every last sculpture, painting, and installation, but included here is a small selection of pieces the crowds are buzzing about inside the three large indoor gallery spaces at Dismaland. You can see our additional coverage of the event here, and Evan over at Juxtapoz managed to get an exclusive interview with Banksy before the event.

Lastly, here are links to the 24 short films included in the hour-long Cinema program I helped with.

F*ck That: A Guided Meditation by Jason Headley; Bottle by Kristen Lepore; New York Park by Black Sheep Films; Symmetry by the Mercadantes; Magic Hats by Jake Sumner; Golden Age of Insect Aviation: The Great Grasshoppers by Wayne Unten; Walking on By by Mr. Freeman; Merry-go-round by Vladimír Turner; The Gap by Daniel Sax; 5 mètres 80 by Nicolas Deveaux; I’ve fallen, and I can’t get up! by Dave Fothergill [with audio added]; Danielle by Anthony Cerniello; Anamorphose Temporelle by Adrien M. & Claire B.; Stainless / Shinjuku (excerpt) by Adam Magyar; Collapsing Cooling Towers by Ecotricity; Liberty by Vincent Ullmann [edited with audio added]; The Employment by opusBou; Yawns by the Mercadantes; Rush Hour by Black Sheep Films; Pug Particles by Ramil Valiev; Shell’s priceless Grand Prix moment by Greenpeace Living With Jigsaw by Chris Capell; Teddy Has An Operation by Ze Frank; and Don’t Hug Me I’m Scared #1 by Becky and Joe.

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Janus, 2015 (Courtesy of Maskull Lasserre)

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Damien Hirst

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Jimmy Cauty’s ADP installation / Photograph by Christopher Jobson for Colossal / Click for detail

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Embroidered cars by Severija Inčirauskaite-Kriaunevičiene / Photo by Christopher Jobson for Colossal

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Anatomical ceramics by Ronit Baranga

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Tattooed Porcelain Figures by Jessica Harrison / Top photo by Christopher Jobson for Colossal

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Paco Pomet / Photo by Christopher Jobson for Colossal

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Paintings of Birds Sprinkled with Color by Frank Gonzales

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Artist Frank Gonzales refers to his process as a cross-pollination of elements, a mixture of realism and artificiality expressed through acrylic paintings of birds perched atop plants and crystaline formations. “I like to construct and deconstruct during the process, leaving traces of my journey in the end results,” Gonzales says. His careful depictions of wildlife are somewhat reminiscent of Audubon’s style, but the colorful drips of paint and other surreal elements gives each painting a fresh, illustrative feel.

Gonzales most recently toured around New Mexico with Santa Fe Exports and he has a number of prints and original paintings available through several galleries. You can also follow his work on Instagram.

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A 17th-Century Stanchi Painting Reveals the Rapid Change in Watermelons through Selective Breeding [Updated]

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Giovanni Stanchi (Rome c. 1645-1672). Oil on canvas. 38 5/8 x 52½ in. (98 x 133.5 cm.) / Courtesy Christie’s

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Old master work paintings are frequently cited for their depiction of historical events, documentation of culture, or portraiture of significant people, but there’s one lesser known use of some paintings for those with a keen eye: biology. One such instance is this Renaissance still life of various fruits on a table by Giovanni Stanchi painted sometime in the 1600s that shows a nearly unrecognizable watermelon before it was selectively bred for meatier red flesh.

Horticulture professor James Nienhuis at the University of Wisconsin tells Vox that he’s fascinated by old still life paintings that often contain the only documentation of various fruits and vegetables before we transformed them forever into something more desirable for human use. You can read a bit more about the science behind the changes in watermelons over the last 350 years here. (via Kottke)

Update: Greg Cato writes: “The painting depicts a rare outcome of sub-par growing conditions, known as ‘starring.’ It’s perfectly normal, still happens, and is not the result of selective breeding (although it would be cool if it were).” You can see an example here.

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Remake: Master Works of Art Reimagined, a New Book by Jeff Hamada

Salvador Dali, "The Ship," 1942-43, watercolor on paper, remake by Justin Nunnink

Salvador Dali, “The Ship,” 1942-43, watercolor on paper, remake by Justin Nunnink

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Dante Gabriel Rossetti, “The Day Dream,” 1880, oil on canvas, remake by Tania Brassesco and Lazlo Passi Norberto

Four years ago, Booooooom creator Jeff Hamada asked the internet to join in on an art challenge to recreate their favorite old master paintings as contemporary photographs. The Remake Project sparked many professional and amateur artists to create elaborate sets, paint their bodies, paint their friends’ bodies, and take their own shot at works by artists from Dali to Magritte. This collection of original paintings and their contemporary counterparts has now taken the form of a book released through Chronicle Books titled Remake: Master Works of Art Reimagined.

The book features side-by-side page layouts of a selection of works from the original contest, displaying the photographic re-interpretations next to their old-world inspiration. Photographs range from the strikingly similar to loose interpretations, a grand spectrum of re-creations represented from the project’s open call. Remake: Master Works of Art Reimagined is now available in the Colossal Shop.

Rene Magritte, "The Lovers," 1928, oil on canvas, remake by Linda Cieniawska

Rene Magritte, “The Lovers,” 1928, oil on canvas, remake by Linda Cieniawska

Ramon Casas i Carbo, "After the Ball," 1895, oil on canvas, remake by Tania Brassesco and Lazlo Passi Norberto

Ramon Casas i Carbo, “After the Ball,” 1895, oil on canvas, remake by Tania Brassesco and Lazlo Passi Norberto

Jacques Louis David, "The Death of Marat," 1793, oil on canvas, remake by Adrianne Adelle

Jacques Louis David, “The Death of Marat,” 1793, oil on canvas, remake by Adrianne Adelle

Edward Hopper, "Nighthawks," 1942, oil on canvas, remake by Bastian Vice and Jiji Seabird

Edward Hopper, “Nighthawks,” 1942, oil on canvas, remake by Bastian Vice and Jiji Seabird

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Nathan Walsh’s Unusual Urban Landscapes Painted Atop Precise Graphite Sketches

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Trying to pin down exactly what makes these urban landscape paintings by British artist Nathan Walsh (previously) so unusual is difficult, in part because of the variety of techniques he employs to get from a vision in his mind to the final, exacting artwork.

Starting with his own photographic references, Walsh first draws an elaborate blueprint of sorts by establishing a horizon line and a host of perspective strategies that varies from piece to piece. This is followed by several months of painting with oils to achieve the final landscape that appears to be a strange hybrid of both illustrative and photorealistic styles. Photography, architecture, and painting converge to create a “painted world which in some ways resembles the world we live in,” says Walsh. “The work aims to create credible and convincing space which whilst making reference to our world, displays its own distinct logic.”

Walsh is currently preparing for a group show titled “Cityscape Paintings: Looking from the Outside In” at Bernarducci Meisel Gallery in October, followed by a solo show during the same period in 2016. You can follow more of his work in progress on Facebook.

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Globalization and the Environment Collide in Mary Iverson’s Mixed Media Paintings of Shipping Containers

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Mary Iverson fills natural and manmade landscapes with colorful shipping containers, objects haphazardly stacked on each other and taking up a majority of the otherwise tranquil scenes. The containers and boxes are cross-hatched with overlaid lines, connecting them a predetermined pattern seemingly known only by the artist.

Iverson explains her work by saying, “My paintings are colorful abstractions that spring from the theme of the industrial shipping terminal. The canvases feature mass accumulations of shipping containers and container cranes in various perspectives. My work employs a network of searching perspective lines and layers of interlocking, colorful planes and rectangles that suggest both deep space and flat surface.”

Part painting and part collage (the pieces often incorporate found photography), her artworks address what happens when globalization and the environment collide, material possessions doubling and tripling until they spill into the natural world around them. The Seattle-based painter gathers the bulk of her source imagery for her sketches through yearly trips to parks across the country, camping and photographing the landscape around her.

Iverson received her MFA in Painting from the University of Washington in 2002 and currently teaches painting and drawing at Skagit Valley College in Mount Vernon, WA as a tenured faculty member. Iverson has two upcoming October exhibitions, one at Gallery FB69 in Munster, Germany and another at G. Gibson Gallery in Seattle. Check out more images of Iverson’s work on her Instagram here. (via Juxtapoz where she’s the cover artist for the August issue)

Valley 8 x 10, collage on panel, 2010, Iverson

Settlement,12 x 12 inches, acrylic, ink, found photograph on panel, 2014

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Grand Canyon, 8 x 10 inches, collage on panel, 2010, Iverson

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