+The Raft of the Medusa
2012
Realised during Art by Telephone at School of Global Art Melbourne by the Students of THINK Global School with Cécile B Evans
Ongoing collection to chart the passage for painting in the continuous current, with writing for work informed by or informing painted practice. Images, modelled and actual paint all twisted like a vine, etc.
PAINTED,ETC. is a broad research initiative currently produced by artist Ry David Bradley to document the practice, understanding and lineage of painting and its descendants in the internet age...PAINTED,ETC. accepts contributions, brief reviews, short artist essays, statements and images.......
To send work click here • PAINTED, ETC.
How To Paint With Photoshop
2012
PAINTED, ETC. for School of Global Art produced by LuckyPDF with DIS Magazine
Wet Strokes
2012
This is 100% coded, no photoshop involved. The strokes are drawn by accumulating many thin lines with slightly different colors and transparency.
Not only putting the colors on the canvas, these strokes leave their trace on another bitmap data that is used as input to a GLSL shader, which moves and blurs the paint to get nice oily feeling.
Does this work for you?
La Menina
2012
One of my favorite but probably not very well know works of Pablo Picasso are his series of Las Meninas, which is based on Velázquez’s masterpiece of the same title. He created those 58 paintings by picking up different parts of the original and re-interpreting them into his unique style.
While not comparable with stunning works of genius, I had my auto-painter program reproduce some masterpieces. One is of course from Las Meninas.
via Leaf
MMXII BNPJ
2012
Jon Rafman
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Opposites engage and contend in Jon Rafman’s Brand New Paint Jobs (BNPJ). Conversations between opposing cultural perspectives clash as past, present and future first mirror and then conflict with one another. In the BNPJ project, ordinary objects become infused with historically celebrated works of Art. Each piece in the series is a deliberation between a consumer object and a canonized painting, the formal result of the meeting of a three-dimensional object and a two-dimensional image. A Venus garden sculpture is layered with Sam Francis’ characteristic splashes of paint. A pocket bike is airbrushed with Barnett Newman’s, Who’s Afraid of Red Yellow and Blue. The cultural weight of the underlying structure challenges that of the two-dimensional painting, which is its skin or texture. The conversation occurring between the surface and the object - the connotations of a high modernist painting versus those of a mass-produced object - is not simply another example of the blurring of the distinction between high and low culture. Walking the receding line between art and design, Rafman suggests that history is ultimately wrapped around and involved in whatever we do. By rendering canonized works as add-on surfaces, Brand New Paint Job implicitly critiques the reification of art history.
Previously conceptualized and rendered solely in digital form, MMXII BNPJ marks the emergence of the series in sculptural form. MMXII BNPJ compels us to re-conceptualize our relationship to art and our functional goods. We are invited back to a time when art was woven into the fabric of our lives. By layering a pocket bike with Malevich’s iconic Suprematist painting, we are freed from the responses that they have come to elicit. The motorcycle becomes a conceptual vehicle that allows Malevich’s composition to re-enter our understanding. As the paintings become alive in a new way, they become vital in their new form and we are made to rethink the object and the painting. For does it not make as much sense to put a painting on a motorcycle as it does to put it on a wall in a gallery?
Anime Betty Page Fucked By Steampunk Horse Warrior
2012
Parker Ito as Deke 2 in collaboration with Body by Body (Cameron & Melissa Sachs)
Strip
2011
The status of painting in these new works is figured as exceptionally fragile, yet it is powerfully formulated in its assimilation to its technological challenges, as though painting was once again on the wane under the impact of technological innovations. Yet in its application of almost Duchampian strategies of fusing technology and extremely refined critical pictorial reflection, Richter’s astonishing new works open a new horizon of questions. These might concern the present functions of any pictorial project that does not want to operate in regression to painting’s past, but that wants to confront the destruction of painterly experiences with the very practice of painting as radical opposition to technology’s totalizing claims, and as manifest act of mourning the losses painting is served under the aegis of digital culture.
- excerpt from show catalogue by Benjamin H.D. Buchloh
qwertyuiopasdfghjklzxcvbnm 2011
Water (aqua), detergent and nail polish in inflatable pool – 2620mm x 1750mm x 560mm
