sunday church drawing

jane dickson

Out of Here, Storm, 2000, Oil on Astroturf, 40 x 73, Blue Highway, 1999, Oil on Astroturf, 57 x 71, Home 42 (Pink Perch), 2000, Oil on Acrylic Carpet, 24 x 30, Blue Bridge - GW1, 2007, Oil on Astroturf, 58 x 32, Blue Bridge - Brooklyn 1, 2008, Oil On Astroturf, 58 x 32, Heading In Green Tunnel, 2004, Oil on Astroturf, 40 x 106

astro-turf-love it! and the amazing detail she achieves by painting on it-i'm especially drawn to the night scenes...see more here.

glenn brown

Senile Youth, 2007, Oil on panel, 48 x 61-3/8, oval, Deep Throat, 2007, Oil on panel, 59-13/16 x 48, Some Velvet Morning When I'm Straight I'm Going to Open Up Your Gates, 2007, Oil on panel, 87-3/8 x 58-5/16, Tart Wit, Wise Humor, 2007, Oil on panel, 56-11/16 x 42-11/16, Polichinelle, 2007, Oil on panel, 51-3/16 x 41-11/16

i love these juicy, sensuous paintings by glenn brown. read an interesting interview with him in the april, 2009 art in america as he explains his process and ideas.

aaron curry

bad dimension, 2009, painted aluminum, 103x31x.5, cobwebs and cosmic knots, 2009, ink, gouache on paper, 58x42, Installation at the Hammer Museum, Los Angeles, man with sword and sunbeam, 2009, painted aluminum, 77x60x59.5, Tommy (detail), 2007, wood, rope, polyurethane paint, posters, and resin, 102 x 62 x 24, untitled (bricklayer), 2008, acrylic, gouache, collage, 24x19, Installation at the Hammer Museum, Los Angeles

like 3-dimensional yves tanguay paintings...see more here, here and here.

michael anderson

gold record car crash, 2008, collage from street posters, 60x72, cerberus, 2008, collage from street posters, 57x62, Incomplete Portrait of David Wojnarowicz, 2008, collage from street posters, 36x24, Toro Toro, 2005, collage from street posters, 22x17, Black Music vs. Helvetica, 2009, collage from street posters, 4 panels each 60x72, Jack Da Vinci Johnson, 2006, collage from street posters, 96x96

Advertising provides the material, appropriation is the mode of operation, and collage is the medium of my artistic creation/recycling. To create my collages, I use international street posters, taken from the streets of such far-flung places as Mexico City, Berlin, Amsterdam, London, Paris, Rome and, of course my hometown favorite, NYC. The fragments of thousands of posters are re-arranged in a painterly fashion to create the composition and imagery of an individual piece. I attempt to balance abstraction and representation in composition to create a static/non-static effect in the over-all experience of the work. These collages develop non-linear narratives that capture the experience of contemporary life with dark humor. In taking posters from the street, which are super-saturated and obvious, I focus ideas together to create a collision of energy that allows for tremendous juxtaposition. When people see my work there is a pinprick of recognition, an unexplainable familiarity, that they’ve seen parts before, but never in that way. As a sort of puzzle map of the collective unconscious, I make art about the world we live in, a document to show what it’s like to be alive today.

see more here and here.

chakaia booker

its so hard to be green, 2000, rubber tire, wood, 150'x252'x24", latent emissions, 1998, rubber tires, wood, 74x45x32, nomadic warrior, 1998, rubber tires, wood, metal, rubber conduit, 38x30x30, wrench (wench), 2001, rubber tire, steel, wood, 90x45x21, homage to thy mother (landscape), 1996, rubber tires, wood, 96'x192'x36"

amazing large scale sculpture made from recycled rubber tires-i love how chakaia booker transforms a seemingly inflexible, masculine material into something soft and sensuous...see more here.

sunday church drawing

lizzie thomas

hidden forest, hidden summer, hidden etching, hand cut and hand printed paper, they said a king once ruled the forest, hidden spring

My work is an exploration of narrative, myth and metaphor. I am particularly interested in the use of symbol in fairytale and folklore and also write my own stories. I take inspiration from the use of wood and paper in Japanese spiritual life.

franklin evans' new work

images via KCLOG and flickr

franklin evans sent me links to images of the very cool work he's been doing as part of the marie walsh sharpe SPACE program-a program that gives chosen artists free studio space for one year. here's my original post on evans' work.

monika grzymala

transition, 2006, three dimensional drawing, marian goodman gallery, ny, lineage/twisted, 2005, adhesive paper tape, the drawing center, ny, swoosh, 2007, 2.4 kilometers of black & white paper tape, transmission gallery, glasgow, distortions, 2008, 7.5 kilometers of adhesive tape, catriona jeffries gallery, vancouver, ruptures, 2009, adhesive tape, the drawing room, london, distortions (detail), 2008, 7.5 kilometers of adhesive tape, catriona jeffries gallery, ruptures, 2009, adhesive tape, the drawing room, london

[a tape drawing] is not an autonomous work of art installed in a room. on the contrary, my spatial drawings have the ability to reconfigure or transform the rhythm of architecture-an intervention of limited duration...the dynamics of my work flow like a jet stream that cannot be formatted.

i just read an article about this artist in the march/april art on paper magazine and i'm totally blown away by her work. she uses miles of colored adhesive tape to create, form and enhance space. amazing work. unfortunately, she doesn't have a web site and not much of an online presence, but you can purchase back issues of the magazine here.