cristinamuniz:

Esa fue mi último adiós (This was my last goodbye)

  1. Camera: Canon PowerShot ELPH 330 HS
  2. Aperture: f/3.2
  3. Exposure: 1/100th
  4. Focal Length: 33mm

alteregoempire:

Jean-Michel Basquiat

"In modern times, a scientist can communicate with the public via books, radio, interviews, and of course, the internet. But one cannot assert that the messages have been absorbed into the hearts and minds of the public until artists embrace the themes. Only then has science entered culture, having become the artist’s muse." -Neil deGrasse Tyson, The Universe of Peter Max

"In modern times, a scientist can communicate with the public via books, radio, interviews, and of course, the internet. But one cannot assert that the messages have been absorbed into the hearts and minds of the public until artists embrace the themes. Only then has science entered culture, having become the artist’s muse." -Neil deGrasse Tyson, The Universe of Peter Max

peytonrack:

Long Silence

Peyton Rack

Encaustic on Panel

October 2014

  1. Camera: HTC 6500LVW
  2. Aperture: f/2
  3. Exposure: 1/120th
  4. Focal Length: 3mm

Hairy Who & The Chicago Imagists

"The artists just get in their studio and do work. Like anything across the span of time, things fall out of favor and then somebody rediscovers them."

-Gladys Nilsson via WSJ

dromik:

Shannon Finley - Half Control , 2010
Acrylic on canvas
31 x 24 cm

tumblropenarts:

Artist Name: Greg MacLaughlin

Tumblr: gmaclaughlin.tumblr.com

pppppaint:

John Karel

When people told him that the “landscape genre was worn out” he thought it illogical. “The way of looking at it [the landscape] might be worn out, but the landscape can’t be,” he said. “It needs re-looking at…[to] look at it afresh.”

bonitavista:

England

photo via mick

pixography:

Mario Martinez (aka MARS-1)

pixography:

Mario Martinez (aka MARS-1)

paul-is-slow:

The ceiling caves in on Jason Dunda’s head
October 4-25, 2014
Opening Reception: October 4, 6-9 pm

Wisdom from above. The voice of authority.  Jason Dunda is interested in power. That unavoidable, elephant-in-the-room sort of power easily conjures malevolence, but it isn’t necessarily the truth. Neither should anyone assume that power is benevolent. It takes so little to be perceived in the wrong light by those ensconced in power. A step back, away from front and center, is rarely perceived as withdrawal from vulnerable visibility. A step away is only away from center and therefore against uprightness.
 
Then again, a frontal stance can be wielded like a weapon.
 
Jason Dunda is dragging color along and feeling the weight of it as he moves it. Building by digging, leveling the ground, and then stacking. Stacking color. There seems to be some sweat along the way. The paintings aren’t quite clear about good or bad, nor really what an unknown someone looks like. Dunda looks at power and its assumptions. He looks at the act of shrinking away from power’s gaze. He puts the look and looked at together and we’re left to look at the results of his collapse.

  1. Camera: EPSON Expression 10000XL

griffinmiller:

Varient, 2014

Griffin Miller