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Catching Elephant is a theme by Andy Taylor

 

You have to take time to feel sorry for yourself to be a good abstract expressionist (which I always thought was a waste of time).

Robert Rauschenberg, a personal favorite

dailyartjournal: Graham McArthur, “Growing Silence”

dailyartjournal:

Graham McArthur, “Growing Silence”

Draky, 1966 Jules Olitski

Draky, 1966

Jules Olitski

neon-fruit-supermarket: Madeline Denaro  I’m in Deep Clover Now acrylic with polymers on canvas, 70x44

neon-fruit-supermarket:

Madeline Denaro 

I’m in Deep Clover Now

acrylic with polymers on canvas, 70x44

Cestiphon III, 1968 Frank Stella

Cestiphon III, 1968

Frank Stella

Untitled, 1956-57 John Altoon Oil paint, sand and mud on canvas. Said Irving Blum, his partner in the Ferus Gallery,”If the gallery was closest in spirit to a single person, that person was John Altoon—dearly loved, defiant, romantic, highly ambitious—and slightly mad.”

Untitled, 1956-57

John Altoon

Oil paint, sand and mud on canvas.

Said Irving Blum, his partner in the Ferus Gallery,”If the gallery was closest in spirit to a single person, that person was John Altoon—dearly loved, defiant, romantic, highly ambitious—and slightly mad.”

White Center, 1950 Mark Rothko

White Center, 1950

Mark Rothko

Migration Ron Graff “With every painting, I learn how to paint again because when I start, I don’t know how to paint that painting.”

Migration

Ron Graff

“With every painting, I learn how to paint again because when I start, I don’t know how to paint that painting.”

No. 5/ No. 22, 1950 Mark Rothko “Rothko really wants us to engage with his pictures and let them work on us to actually find our position in relationship to them… Moving backwards and forwards until you find the right place and then I think that, as your eyes settle to it, things start to happen… Effectively, you are, as Rothko says, the component to the picture helping to make the picture perform.” -John Elderfield, quoted from an audio clip found here. Rothko is one of my favorite artists because of the way his paintings just envelop the viewer. The work seems to make you aware of new, unknown emotions as you keep staring into the painting. I love that introspective aspect of this kind of art. And I so admire the incredible ability that Rothko had to evoke these feelings in his viewers using only color and simple shapes. It shows how finely tuned his understanding of the human soul was and it is something that really can’t be learned.

No. 5/ No. 22, 1950

Mark Rothko

“Rothko really wants us to engage with his pictures and let them work on us to actually find our position in relationship to them… Moving backwards and forwards until you find the right place and then I think that, as your eyes settle to it, things start to happen… Effectively, you are, as Rothko says, the component to the picture helping to make the picture perform.”

-John Elderfield, quoted from an audio clip found here.

Rothko is one of my favorite artists because of the way his paintings just envelop the viewer. The work seems to make you aware of new, unknown emotions as you keep staring into the painting. I love that introspective aspect of this kind of art. And I so admire the incredible ability that Rothko had to evoke these feelings in his viewers using only color and simple shapes. It shows how finely tuned his understanding of the human soul was and it is something that really can’t be learned.

To the City by Koye Brown, 2009.

To the City by Koye Brown, 2009.