Poof or cushion with Fra Angelico Madonna and child. Shop front, St. Kevin's Arcade. Auckland.
MIERCOLES, EL VIENTIOCHO DE OCTUBRE, DOS MIL NUEVE
David photographing in the exhibition, I Go Where The Party Takes Me, 305 Queen Street Auckland. 11am-5pm daily, until the 31st of October. He'll be back in Hong Kong by now.
David photographing in the exhibition, I Go Where The Party Takes Me, 305 Queen Street Auckland. 11am-5pm daily, until the 31st of October. He'll be back in Hong Kong by now.
JUEVES, EL VIENTIDOS DE OCTUBRE, DOS MIL NUEVE
Tonight's the book launch of The Real Art Roadshow hardback edition at Art+Object. Here's a reference to it on Beatties Blog.
Tonight's the book launch of The Real Art Roadshow hardback edition at Art+Object. Here's a reference to it on Beatties Blog.
MIERCOLES, EL VIENTIUNO DE OCTUBRE, DOS MIL NUEVE
Last night was the opening of I Go Where The Party Takes Me. A good turn-out and lots of fun, along with serious conversation. There's some photos of the opening on Jo's blog here.
Last night was the opening of I Go Where The Party Takes Me. A good turn-out and lots of fun, along with serious conversation. There's some photos of the opening on Jo's blog here.
MARTES, EL VIENTE DE OCTUBRE, DOS MIL NUEVE
Here's a photo (middle one) that a friend recently sent me. They're part of a photo shoot by Dan Budnik in Guston's Woodstock studio in 1964. What I like about this photograph in the middle is the square of light and the bottom left of the pic, with Guston's head creating a shadow, echoing his paintings from that period. The linseed-ridden, gun-metal head-shaped blobs seemed to carry on throughout his painting career. Below the photos are two untitled paintings, one from the 1964 period and a figurative head from the last group of ink and acrylic paintings he completed before he died in 1980.
Right, I'm off for a couple of weeks, will upload a post or two when I have internet access.
Here's a photo (middle one) that a friend recently sent me. They're part of a photo shoot by Dan Budnik in Guston's Woodstock studio in 1964. What I like about this photograph in the middle is the square of light and the bottom left of the pic, with Guston's head creating a shadow, echoing his paintings from that period. The linseed-ridden, gun-metal head-shaped blobs seemed to carry on throughout his painting career. Below the photos are two untitled paintings, one from the 1964 period and a figurative head from the last group of ink and acrylic paintings he completed before he died in 1980.
Right, I'm off for a couple of weeks, will upload a post or two when I have internet access.
SABATO, EL DIECESIETE DE OCTUBRE, DOS MIL NEUVE
I've been thinking about reinvigorating my Whiteworld series of drawings and have been looking into the new designs and styles of currencies, notes and bills. The most popular one at the moment is the possibility of the Amero, a joining of the Canadian, Mexican and American currencies. There's some great conspiracies out there so I'm thinking it would be interesting to address it now artistically as a marker to see what happens in the future. Check out the image below with the photoshopped deer from the net.
I also keep going back to the drawing below, Changing World (pencil on paper, 2004) which was a precursor to the Whiteworld portraits. It's based on the American one dollar bill, but apart from that I think its something to do with the composition that seems to be popping up in a set of new paintings on tin that I'm working on at the moment.
I also keep going back to the drawing below, Changing World (pencil on paper, 2004) which was a precursor to the Whiteworld portraits. It's based on the American one dollar bill, but apart from that I think its something to do with the composition that seems to be popping up in a set of new paintings on tin that I'm working on at the moment.
MARTES, EL TRECE DE OCTUBRE, DOS MIL NUEVE
I've just received an invitation to 'The Captain' at Tauranga Art Gallery, so I'm guessing my artwork Thou Art Nothing, 1999 (below) is in the exhibition. I'm heading up to Auckland for 10 days late October, so I'll get to se the show. The invitation features two images: one, Marian Maguire's 'A Portrait of Captain James Cook with a Classical Urn from the Collection of the Admirality' (2005) and Gavin Hurley's 'My Sad Captain' 2006.
I love it how the Tauranga Art Gallery managed to snap up the New Zealand 'Art Gallery' URL before any other gallery.
I've just received an invitation to 'The Captain' at Tauranga Art Gallery, so I'm guessing my artwork Thou Art Nothing, 1999 (below) is in the exhibition. I'm heading up to Auckland for 10 days late October, so I'll get to se the show. The invitation features two images: one, Marian Maguire's 'A Portrait of Captain James Cook with a Classical Urn from the Collection of the Admirality' (2005) and Gavin Hurley's 'My Sad Captain' 2006.
I love it how the Tauranga Art Gallery managed to snap up the New Zealand 'Art Gallery' URL before any other gallery.
LUNES, EL DOCE DE OCTUBRE, DOS MIL NUEVE
I've found some real gems while looking through a lot of 50's fashion photography, including this fantastic photograph of the french dancer and actress Leslie Caron in sphinx-like pose, claws included. The photo was taken by often overlooked fashion photographer, Clifford Coffin. The image on the right is another Coffin image from a poster that I picked up from the National Portrait Gallery in Edinburgh in 2003. An intriguing image that I had on my wall in Wellington for 2 years. I'd love to know where the poster is now, after six house shifts since I took it off my wall.
I've found some real gems while looking through a lot of 50's fashion photography, including this fantastic photograph of the french dancer and actress Leslie Caron in sphinx-like pose, claws included. The photo was taken by often overlooked fashion photographer, Clifford Coffin. The image on the right is another Coffin image from a poster that I picked up from the National Portrait Gallery in Edinburgh in 2003. An intriguing image that I had on my wall in Wellington for 2 years. I'd love to know where the poster is now, after six house shifts since I took it off my wall.
DOMINGO, EL ONCE DE OCTUBRE, DOS MIL NUEVE
After looking through a bunch of Irving Penn Vogue photographs, I came across the cover below which reminded me of part of a painting I completed just before heading overseas in 2008. Here's a link to the painting My Ambassador. I guess I painted that image in the roundel for the fear of running out of cash half-way through the trip. It didn't happen, luckily and I even made a couple of sales overseas (don't tell my accountant)...and how am I going to fit in a crucifix? Well, below are rosary beads with a wooden crucifix that I bought from a Mexican Swap-meet in North Las Vegas, a large field with many small tents and stall selling their wares (similar to our A & P shows). When you look through the small metal ring on the crucifix (called a stanhope), an image of the Virgin of Guadeloupe appears.
After looking through a bunch of Irving Penn Vogue photographs, I came across the cover below which reminded me of part of a painting I completed just before heading overseas in 2008. Here's a link to the painting My Ambassador. I guess I painted that image in the roundel for the fear of running out of cash half-way through the trip. It didn't happen, luckily and I even made a couple of sales overseas (don't tell my accountant)...and how am I going to fit in a crucifix? Well, below are rosary beads with a wooden crucifix that I bought from a Mexican Swap-meet in North Las Vegas, a large field with many small tents and stall selling their wares (similar to our A & P shows). When you look through the small metal ring on the crucifix (called a stanhope), an image of the Virgin of Guadeloupe appears.
SABATO, EL DIEZ DE OCTUBRE, DOS MIL NUEVE
Just heard that Irving Penn passed away three days ago, aged 92. His famous Vogue cover image of 1950 (Below) taught me about the wonders of photographic fashion design cropping, having been familiar with the final cover, seeing the original photograph (left) showed how a subtle trim either side can change the whole feel of a photograph. His portraits of Truman Capote are great too, but I couldn't pass up the fantastic Jasper Johns photo below.
We unfortunately missed the Penn show at the Morgan Library in NYC by 3 months last year, would have been great to see, although, you can't be everywhere, all the time.
Just heard that Irving Penn passed away three days ago, aged 92. His famous Vogue cover image of 1950 (Below) taught me about the wonders of photographic fashion design cropping, having been familiar with the final cover, seeing the original photograph (left) showed how a subtle trim either side can change the whole feel of a photograph. His portraits of Truman Capote are great too, but I couldn't pass up the fantastic Jasper Johns photo below.
We unfortunately missed the Penn show at the Morgan Library in NYC by 3 months last year, would have been great to see, although, you can't be everywhere, all the time.
VIERNES, EL NUEVE DE OCTUBRE, DOS MIL NUEVE
About week ago, I watched The Simpsons episode, Half-Decent Proposal, where Marge's high-school beau Artie Ziff proposes to Homer a million dollars in exchange for a weekend with Marge to re-create their school prom in order to win her back. Anyway, Jo sent me this link about 'robot painters' that turn internet noise into 'fine art'. I mention The Simpsons episode as Artie Ziff demonstrates how he made his millions by inventing a machine that transforms dial-up modem noise into muzac. That episode aired in 2002.
About week ago, I watched The Simpsons episode, Half-Decent Proposal, where Marge's high-school beau Artie Ziff proposes to Homer a million dollars in exchange for a weekend with Marge to re-create their school prom in order to win her back. Anyway, Jo sent me this link about 'robot painters' that turn internet noise into 'fine art'. I mention The Simpsons episode as Artie Ziff demonstrates how he made his millions by inventing a machine that transforms dial-up modem noise into muzac. That episode aired in 2002.
JUEVES, EL OCHO DE OCTUBRE, DOS MIL NUEVE
This bar-coded Google 'logo' popped up on my browser today, a subtly autocratic air about it, especially after reading this staggering article in the New Yorker yesterday (only the abstract is available online). I guess I knew that Google is a powerful net intermediary, but I guess to see the actual monetary values puts its on a whole other level. On the lighter side, I'm reminded of a very funny Arj Barker skit about the smug attitude of the Google image search engine. It should be on you tube somewhere.
This bar-coded Google 'logo' popped up on my browser today, a subtly autocratic air about it, especially after reading this staggering article in the New Yorker yesterday (only the abstract is available online). I guess I knew that Google is a powerful net intermediary, but I guess to see the actual monetary values puts its on a whole other level. On the lighter side, I'm reminded of a very funny Arj Barker skit about the smug attitude of the Google image search engine. It should be on you tube somewhere.
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