Are you familiar with the amazing artist Jackson Pollock?
He is known for his way of painting.. action painting. Yesterday we’ve tried this ourselves and we can tell you.. it’s pretty awesome. It feels kind of good to just drip around paint and see what your painting turns out. For now just a picture of us making our own Pollock, we will show you the result very soon!

 Ph. | Private

Adrian Negenborn is a painter and 2010 MFA graduate from the Massachusetts College of Art and Design.

Whether isolating thick swipes of paint or mingling fluid lines with chancy splices, Adrian Negenborn strives to find the significance in gesture and mark making. “My process is characterized by excavation,” says Negenborn. “Oscillating from visceral to analytic, spontaneous to meditated, I respond to the initial flurry of marks laid on the canvas. I am always trying to make something from nothing, to dig something out of the mass of gestures.”

Interested in transparency and contrast, Negenborn’s paintings can also give the illusion of exuding light or being lit from behind. His method of layering various colors or shades of colors allow his works to possess a distinctive push-pull effect. In more than one work, I almost thought that a brush stroke was floating in front of the painting itself – which of course it’s not.

Primarily using acrylic paint on canvas and/or paper, Negenborn’s works are at once abstract, energetic and spontaneous. “I never fully know when a painting is done until it feels right; it reaches an in between state somewhere amidst harmony and disharmony. Eventually, a glance at an experience coming into being reveals itself out of the mass of gestures.”

Beautifully put, Negenborn. We’re excited to see what ‘reveals’ itself next!

In this clip, New York based artist Aaron Young reflects on motorcycle action paintings and his work in Matt Black’s Reflections series. Black describes Young’s work as pure exploration of America and masculinity—minimalism on steroids. Though Young spent his early years studying film in San Francisco, he’s move to New York and involvement in the downtown rock and art scene led to him exhibiting at the Gagosian gallery. “Aaron Young’s work can be described in extremes. He appropriates symbols associated with American freedom in the form of motorcycles, muscle cars, and the Flag, as well as its dark underbelly – barricades, barbed wire, and xenophobia (Locals Only!). His most noted work of the performative motorcycle burnouts, are spectacles that serve to reveal what lies beneath the surface while simultaneously erasing the evidence.” company art

Young is part of James Franco’s REBEL exhibition @ the MOCA. His work “No Fucking Way” is presently showing @ The Company gallery and runs until June 23rd.

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Beauty and the BeastPrice: £403.56 Date Added: Saturday 09 July, 2011

Original painting by Peter Bright . Media: Painting and Screen Print on canvas, signed and dated 2011. Size: 400mm x 400mm ARTIST + S T A T E M E N … more info Notes on Painting: The act of being creative is a love hate thing – The Beauty and The Beast someone fetch a priest (ref. David Bowie) Action Painting – Pollock. Print dribbled paint. Soft pink landscapes (1980) Richard Hamilton A landscape of soft focus and toilet paper – a turgid landscape. Collotype and Screenprint – text and image. A  remembered exhibition. Duchamp: I would have wanted to work, but deep down I’m enormously lazy. I like living, breathing, better than working. I don’t think that the work I’ve done can have any social importance whatsoever in the future. Therefore if you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It is a sort of constant euphoria. Bright: I would have wanted to work, but deep down I’m enormously lazy. I like living, breathing, better than working. I don’t think that the work I’ve done can have any social importance whatsoever in the future. Therefore if you wish, my art would be that of living: each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It is a sort of constant futility. Art Since Pop – John A. Walker This little book helped to guide me through my Art College days in Exeter and Wolverhampton and is one of those reference books that follow you and stay with you through out your life. ‘Art Since Pop‘ is a book … Continue reading → My Exhibitions

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Old painting 1980 (Photo credit: This Window)

This is a painting that I did in college of an event called Mud Fest. The even consisted of teams from different groups and dorms around campus, attempting to pull each other in to a pit of mud. Afterwards a large slippery slide was provided by the campus fire department for students to have fun cleaning off. It was such a large exciting event that I wanted to document it in the form of a painting. I wanted to create a piece that looked like a collage of snap shots, yet also fit together as a whole. In the bottom panel I wanted to capture the tension and muscles of the men pulling contrasted by the above panels which show freedom and release on the slippery slide. There is a horseshoe shaped composition that runs through all of the paintings to tie them together.

La domenica ci si dedica all’arte! …. Noi abbiamo incontrato  Tobia Polese, che ha tenuto la sua  performance “Sei Cappelli in Cerca d’Autore” al Blam per l’evento Feed The artist.  La moda, il design e l’arte si incontrano in un momento intenso accompagnato dalla musica, dove i cappelli si trasformano macchiati dal colore.  Quello che ci è piaciuto di Tobia è il suo unire l’impulsività dell’Action Painting con il grafismo iconico della Pop Art: gli oggetti e i ritagli di giornale  si scontrano con la pennellata veloce dell’artista.

Esposte al Blam anche  le  tele del progetto “Living Art”: tele composte da materiale organico e colori forti,  in opposizione al consumismo di massa che oggi condiziona  l’agire umano. Il concept alla base della “LA” è l’opera d’arte che nasce, cresce, vive e muore secondo un’evoluzione imprevedibile.

Tobia Polese is an italian young artist and designer,  we met him during his personal performance “sei Cappelli in Cerca d’Autore” in Milan. What we most appreciate is his way of painting, a good mix beetween Pop Art and Action Painting. He’s working on a Personal project: Living Art, Paintings made of organic materials and strong colors, A critique on  mass consumerism in western countries.

Tobia Polese Performing “Sei Cappelli in Cerca d’Autore”

@BLAM Via Gaetano Ronzoni, 2  20123 Milano

“Red Hot Chilies”, Tobia Polese

@BLAM

“Day 4 ART Magritte” Tobia Polese

“Day 3 Moda”, Tobia Polese

“Banana Gnam”, Tobia Polese

Photo by  {x²= -1} and  courtesy of Tobia Polese.

If the answer to the above question was “yes”, well wait no longer, with this informative step-by-step video I will guide you through my distinctive painting process and show you, exactly, how I created this beutiful new Post-Phallicism Meisterstück.

The Journey, 2012, Homemade paint on silk, 45.5 X 38 cm 
 

Part 1: The Tea-Bagging Process:

Part 2: Phallus Painting

Pencil sketch: Annemarie Tickle

This intrigued me and has prompted me to research further particularly when I came across this painting by Casper David Friedrich.

The Grosse Gehege near Dresden 1832 Caspar David Friedrich

What I have discovered is that this was a tool used by the romantic artists as a reaction against classical composition. They investigated the curved space or curvilinear perspective. The convex lines emphasis the panoramic view so that there is a feeling of expansion of the landscape, the curvilinear form is how the human eye sees. This gives a sense of the artist being surrounded by the space rather than removed from it. The landscape becomes the artists own private space, although in a bubble. “So as to become what I am, I must give myself entirely to my environment. I must melt into the clouds and rocks” Friedrich. Turner also believed he could only paint the power of nature by subjecting himself to it and making it the only thing his eyes could see.

Distorting the horizontal plane of a composition produces a sense of instability which has an unsettling effect on the viewer. Turner takes this effect to an extreme in paintings such as the one below.

Snow Storm - Steam-Boat off a Harbour's Mouth (1842) by JMW Turner

The curve has become a complete circle totally immersing the viewer in the raging elements. Here the curvilinear perspective gives the image drama and dynamism.

When I observe the landscape I feel as though it is totally surrounding me it is not just like a curtain draped in front of me. I place myself within it, part of it, enveloped by the elements.  The panoramic views of the Humber bend themselves around my peripheral vision so my drawing does the same, wanting to extend the already limitless horizons.

Reference: Gavin, R.G., The Arts, Society, Literature, Associated University Press 1984

Gustave Courbet: The Wave 1870 Oil on canvas

“Two bands of equal height divide the space of the picture, the two parts separated by an absolutely straight line indicating the horizon. Water and sky occupy parallel spaces, but far from flowing into or interpenetrating one another, they stand apart as rivals in density and power.” ” The canvas is cleaved in half by the rivalry of the two systems, each of which comes forward in turn, depending on whether the viewer responds to the illusionistic shading (the clouds) of the physical presence of rich pigment (the waves).”

Clay, J., Romanticism, Vendome Press New York, 1981

This image and concept resonates so strongly with my own work where the horizon is a predominant feature. Also, in a previous post Curvature: Pastel, I have begun to separate out the elements of earth air and water into individual spaces.  I am interested in the dividing line of the horizon and particularly when elements merge in certain  conditions creating an eerie, mystical illusion where the eye has nothing to focus on other than the intensity of the atmosphere.

Acrylic on canvas.

When I think of action painting, I think Jackson Pollock. What I love about this style is that it is instinctual, a highly dynamic kind of art that involves the spontaneous application of vigorous, sweeping brushstrokes, using flow and movement. It uses various techniques of application such as dripping and smearing. I have painted several pieces in this style, and it’s a process which I thoroughly enjoy.

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This original one-of-a-kind artwork is 38″ by 72″ on unstretched canvas.

The canvas is painted to the edges so stretch it and hang without a frame or just hang it like a tapestry.

 BUY HERE

The background is several coats of warm creamy beige and covered with a gloss black and white and barrel brown paint. There are a few small drops of milky liquid gray-white scattered about as well. The black, white, and brown paint was dripped, splattered, splashed, plopped and dribbled each color in layers to create the signature design. The layers give it an awesome raised texture you can see and feel and gives the painting an awesome raised texture. This painting embodies excitement, freedom, and expression in ways that Jackson Pollock would be proud of.  If you like Jackson Pollock’s work you will love this affordable and unique painting.

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This original one-of-a-kind artwork is 37″ by 72″ on unstretched canvas.

 BUY HERE

]]> http://davidaaronartwork.wordpress.com/2012/04/26/crosstown/ Thu, 26 Apr 2012 17:42:53 +0000 davidaaronartwork http://davidaaronartwork.wordpress.com/2012/04/26/crosstown/ “Crosstown”

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This original one-of-a-kind artwork is huge at 24″ x 48″ on stretched canvas.

 BUY HERE

]]> http://comunicaciovisual.wordpress.com/2012/04/26/conceptual-minimal-action-painting/ Thu, 26 Apr 2012 09:35:44 +0000 ramonballeste http://comunicaciovisual.wordpress.com/2012/04/26/conceptual-minimal-action-painting/ ]]> http://davidaaronartwork.wordpress.com/2012/04/24/downtime/ Wed, 25 Apr 2012 02:03:26 +0000 davidaaronartwork http://davidaaronartwork.wordpress.com/2012/04/24/downtime/ “Downtime”

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This original one-of-a-kind artwork is huge at 20″ x 48″

That’s three 20″ x 16″ ready to hang panels

 BUY HERE

]]> http://fosterartprogramblog.org/2012/04/24/postmodern-blues-review-at-the-nox-contemporary/ Tue, 24 Apr 2012 22:32:27 +0000 professorjb http://fosterartprogramblog.org/2012/04/24/postmodern-blues-review-at-the-nox-contemporary/

Postmodern Blues

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Artist John Bell

Artist John Bell addresses these questions in his latest show ‘Postmodern Blues,” exhibited at the Nox Contemporary Gallery in downtown Salt Lake.  His works seem heavily influenced by his background in graphic design, his affection for abstraction, and his awareness of current trends in social media.  His paintings examine our societal fascination with social networking and reveal how now anyone can achieve his/her few moments of fame and can achieve a fan base or online friends.

Such awareness forces us to question our limited attention spans and our view of what it takes to achieve recognition.  How does this scenario affect art and our appreciation of it?  Gone are the days of painting for a wealthy patron or selling a painting at a showing approved by the dominant art academy.  Social networking has become the new patron of the arts in the postmodern setting.  Artists, including John Bell, have websites to showcase, sell, and promote.

JOHN BELL, Right Blue 1, acrylic on canvas

The act of creating has also changed.  Consider the modernist action painter, Jackson Pollock (1912-56).  His painting became an event and revealed the importance of the creative process.  He dripped and splashed industrial paint from a can onto huge unprimed canvases spread on the floor of his barn/studio.  It seems the process of creating art became as significant as the finished product.  Artists no longer were confined to displaying their creative process through a finished product.  Such liberation has influenced modern and postmodern artists alike.

John Bell further embraces this idea of displaying the artistic process, with a postmodern twist.  A live painting performance on April 20th marked the end of Bell’s show.  Unlike Performance Art which exists as a highly choreographed event, Bell’s live painting proved entirely spontaneous.  It also involved audience participation, which is more common in happenings.  Bell, along with fellow artists Jenevieve Hubbard and Darryl Erdmann, painted on a giant canvas stretched across the back wall of the Nox Gallery and included silhouettes of viewers.  No music or theatrical props appeared.  The act of painting proved enough and offered attendees a glimpse at the hours of creative workings and re-workings that contribute to a finished artwork.  Seeing the people behind the product allows the artists recognition beyond a signature on a painting.

JOHN BELL, Muse Asylum 3

Inclusion of the audience also adds a new dimension.  Viewers’ presences become immortalized and are actively included instead of passively excluded on the outside.  In seeing artists at work, viewers share the experience of creation and better appreciate the artists’ manipulation of meaning.  By being physically included, viewers attain some recognition as participants within the eclecticism and achieve their own few moments of fame.  But perhaps that exists as the very nature of Postmodernism….

To view more works from John Bell’s portfolio, refer to his website at: www.artistjohnbell.com.  To learn about future showings at the Nox Contemporary Gallery, visit the website at: noxcontemporary.com/.

Action Painting. Acrylic on canvas. Available for sale.

When I think of action painting, I think Jackson Pollock. What I love about this style is that it is instinctual, a highly dynamic kind of art that involves the spontaneous application of vigorous, sweeping brushstrokes, using flow and movement. It uses various techniques of application such as dripping and smearing. I have painted several pieces in this style, and it’s a process which I thoroughly enjoy.

This slideshow requires JavaScript.

This original one-of-a-kind artwork is 38″ by 72″ on unstretched canvas.

The canvas is painted to the edges so stretch it and hang without a frame or just hang it like a tapestry.

 BUY HERE

]]> http://jeanfrancoisart.wordpress.com/2012/04/18/the-power-of-art-and-rock/ Wed, 18 Apr 2012 15:41:22 +0000 jeanfrancoisart http://jeanfrancoisart.wordpress.com/2012/04/18/the-power-of-art-and-rock/ Just finish a meeting with Stratatys, amazing energy, exiting company and unique product.

My dance teacher had a saying, “There are no mistakes, only variations. Some intentional, some not.”

Edison is credited with saying, “I didn’t fail 1000 times, I found 1000 ways that didn’t work.” (paraphrased)

In my art and art history classes we often talk about Action Painting. Where the artist isn’t trying to use the painting to create an illusion, but the painting is evidence of the action taken. If I move my arm in this manner, the paint falls in this way and the canvas takes record of it.

In this same manner, I think that mistakes, failures, and detours are evidence of our having taken action. If you are moving forward, acting to make progress, trying and doing, then not everything will go according to plan. But it will go how it is supposed to go and you will get where you need to be, even if you take the long way to get there.