Fernando Botero

Ballerina, 2011, bronze ed. of 6, 17-1/8 x 22 x 15-3/4"

Small Reclining Woman on Her Side with Drapery, 2009, bronze ed. of 2, 9-7/8 x 22-1/2, 9-5/8"

Woman on a Horse, 2008, bronze, ed. of 6, 46-1/8 x 31-7/8 x 18-1/2" 

Current exhibition in New York City

Hugh Hayden and his Barbies

Hut, 2012, mixed media, measurements unknown

Small Doll Flag, 2012, mixed media, measurements unknown

To see more Hugh Hayden works click here

Images courtesy of Hugh Hayden

Maurizio Cattelan

L.O.V.E, 2010, white carrara marble, roman tavertine, 36 x 15 1/2 x 15 1/2' 

Felix, 2001, oil on polyvinyl, resin, fiber-glass, 40 x 6 x 20'

Front view of Felix

Now, 2004, wax, clothes, natural hairs, wood, 3 x 7 1/2 x 2 1/2'

Images courtesy of Gallerie Perrotin

Ron Mueck

Title Unknown, mixed media, measurements unknown

Two Women, mixed media, measurements unknown

 

Wild Man, mixed media, measurements unknown

In Bed, mixed media, unknown measurements

Mask Two, mixed media unknown measurements

Images courtesy of boredpanda.com

Jimi Gleason

Interzone, silver deposit, acrylic on canvas, 80 x 56"

Wall of Light (Isabella), silver deposit, acrylic on canvas, 80 x 70"

Crown, silver deposit, acrylic on canvas, 36 x 36"

To see more work by Jimi Gleason visit the Peter Blake Gallery. 

Dirk Dzimirsky - Photorealism

Black Sun, 2011, graphite on paper, 25 x 20"

Trinity, 2009, charcoal drawing on canvas, 40 x 40"

Draw Face VII (Nicole II), 2008, pencil on paper highlighted in white, 50 x 55"

Draw Face VI, 2009, pencil on paper. 42 x 54"

Please treat yourself to some more beauties on Dirk Dzimirsky website or blog.

Terence Koh

yesterdae i washed my hands foo 8 minutes. 13 may 12

Image Courtesy of Terence  Koh

Image Courtesy of Terence  Koh

Image Courtesy of Terence  Koh

James Casebere - Constructed Photography

Landscape with Houses (Dutchess County, NY) #8, 2010 
framed digital chromogenic print mounted to Dibond, 74 1/8 x 90 3/4 x 3"

Landscape with Houses (Dutchess County, NY) #9 , 2011
framed digital chromogenic print mounted to Dibond, 74 1/16 x 91 15/16 x 3"

Landscape with Houses (Dutchess County, NY) #10, 2011
framed digital chromogenic print mounted to Dibond 74 x 86 x 3"

Green Staircase #4, 2002-2003 
digital chromogenic print mounted to Plexiglas, 89 1/2 x 71 1/2"

Images courtesey of Sean Kelly Gallery
To read more about James Casebere Click Here

Linda Fleming, "Helios", 2011, powder-coated steel, 100 × 110 × 56"

Here is a fun story I found on Linda Fleming's site while I was researching the artist. 

It's a story everyone who loves Rauschenberg wishes they had!

Jumping Rope with Rauschenberg

It was the late spring of 1967, maybe May, when I walked into a quiet room in the home of a Philadelphia art collector to step back from the raucous party.  There was a lot of scotch, and at 21 I hadn’t heard about knowing your own limit.  The large lavishly furnished parlor was inhabited by an older man (perhaps 45) who seemed to have a similar inability to know when he’d had too much.  We laughed and talked about hiding from the forced ritual of the party where wild and confrontational artists insulted and amused their patrons (just as they have for hundreds of years) but how the owners of the mansions always seemed to maintain control.  I told the stranger how I had always wanted to jump rope with the tassels of the drapes in an opulent room.  We both laughed and rushed to undo the braided cord wrapped around shimmering green silk.  We tried to get a full swing with the rope in the room but it was too filled with furniture to accommodate our street game.  By now we were determined and found a long wide hallway to be a perfect place to allow the full arc of the swinging cord.  Laughing and reeling we lurched through eight or ten double jumps when the rope caught on a picture wire that ran the length of the hallway pulling the hook out at one end.  One by one the framed prints crashed to the floor breaking the glass and denting the frames.  The Matron of the house came running in furious and screaming about the destruction of her entire suite of Rauschenberg prints.  Her tirade was cut short when she recognized my fellow rope jumper.  Her face softened and she apologized to him for being so upset but she gave me; a young, drunk, mini skirted, long red haired, aspiring but unknown artist the dirtiest look as she walked back to join her party.

Linda Fleming
May 13, 2008

To read more on Linda Fleming click here.

Donald Roller Wilson

Donald Roller Wilson works with many different animals, but I've decided to focus this post on a few of his chimp paintings. Each painting has a short story attached that was written by Donald. Also, make sure you're reading what is written on the frames!

A Rite of Passage

A Rite of Passage by Donal Roller Wilson

"Semi-impenetrable...an un-gated fence with missing pickets..and with jack and his little half-sister meg's eyes about to pop...querulous from a dearth of the holy ghost...absent from the presence of the father and the son...airborne spheres swollen from primordial gasses...bubbles from this thrice-failed celebration...

With their half-sister naughty Betty continuing without redemption, yet puerile with glee...obfuscating...armoring against the pain of becoming something she was not in order to fit in, yet not even knowing...

It had become a predictably repetitive disruption of her maturational cycle...

It was all very complex. One would have had to at least half been there..."

Naughty Betty

"Naughty Betty...Half a catholic, but half jewish princess, to boot...(now on the rag)...exhausted, emotionally drained, and crazed from endless annual attempts at the ratification of her coming of age- having suffered multiple and miserably faulted confirmations and bat mitzvahs...(each going totally haywire - prior to even beginning)...

Found herself a fat rich baptist wasp who momentarily off the wagon - had mistakenly stumbled into temple where Betty snagged, and simply married the son of a bitch...

Even though all these things had transpired only within her mind...so to speak...

It was all very complex...one would have to half been there..."

"Helen was no dummy....she smelled a rat...and she knew the rat she smelled was a "conceptual" odor; as distinguished from a "real" odor...as one obviously having been produced by her half-brother Jimmy...

The fact of the temperature hovering just a hair above freezing having made it possible for Jimmy to produce a couple of streams of visible but unconvincing and odorless emissions had become a faulted ruse...and helen suspected a far lower source !

It was all very complex...one would have had to half been there..."

1938

"1938...At the precise moment beginning the year...Jimmy, having wandered to the center of Brenda's nur farm..mistakenly seeing his half-sisters, Betty, Meg, and little Judy...

Seeing them engaged in what was absolutely appeared to be a lebanese affair - a questionable three-way, a liaison...(though Jimmy was not sure that's what it was - and even if it was what he thought it was, he was not certain he had the name of it down pat)...(though he was certain that whatever it was began with an L)...(and regardless, he was going to spread it around)...

But all that aside (and with Meg not even being away of Jimmy's awareness)...all Meg thought it to be was an opportunity to give her half-sister, little Judy's ear a good yank...

And with Betty thinking it to be only an opportunity to try and sneak a quick smoke...(not knowing the lucky strike she thought she had, was candy)...

And with little Judy not thinking anything at all outside of getting away as fast as possible)...

And, so the year began..."

Peter Shire CUPS

Alameda Scout, 2012, steel, ceramic and enamel
26 x 15 x 16"

San Mateo Flag, 2012, steel, ceramic, enamel & gold-leaf
26 x 16 x 14"

Peach Veronica, 1977, cone 06 clay with glazes, 3 x 7-1/2 x 9"

I had a hard time deciding what to post on Peter Shire because there is so much too choose from. Not only does he made cups, which had never been exhibited until this year. Peter Shire makes teapots, coffee tables, bowls, mobiles, couches, etc. He was one of only four American artists who were a part of the Memphis movement in Italy. This video was made for one of his recent exhibitions and in a few months has already reached 90,000 views.If you haven't seen it yet, click play. 

PETER SHIRE : CUPS from ERIC MINH SWENSON on Vimeo.

Channa Horowitz

Cannon, 1987

Sonakinatography #17, 1987

Sonakinatography I, Movement II, Sheet C, 2nd Variation, 1969

Installation View at the Hammer Museum Made in LA Show

Images courtesy of  Francois Ghebaly Gallery

Lin Tianmiao "Focus Series"

Focus Series, 2001, mixed media, measurements unknown

Focus Series (3), 2001, mixed media, measurements unknown

Focus Series (4), 2001, mixed media, measurements unkown

Images courtesy of Lin Tianmiao

I was first introduced to Lin Tianmiao through her Focus Series. I felt a connection with the artwork and if an artwork can speak to me through a magazine page...I can only imagine what I will feel when I see them in person. She currently has an exhibition at the Asia Society in New York City. I found an interview with Sun Yunfan that she did for Asia Society on her current show to give you all some insight into her work. 

Sun Yunfan: Your work often reflects an impulse to reconstruct, reorganize, or rearrange. Can you talk about this impulse?

Lin Tianmiao: I think to reconstruct is to present my interpretation. I am not trying to demolish things and build something new. I am just showing my understanding of or reaction to things.

Sun Yunfan: Though your work has often struck viewers as powerfully instinctive or even primitive, there is always a thread of technology woven into it. A viewer is always reminded of the now, either by a C-print self-portrait, a projection screen, or a fabric that looks unmistakably contemporary. Why do you choose to make these threads of technology visible in your work?

Lin Tianmiao: First of all, I have to have a physical response to an external influence to be able to create something about it. It is very instinctive. I have to have a bodily reaction before I want to express something. But on the other hand, like Lu Xun once wrote, "One can't grab one's own hair and break away from earth." Although in my daily life I still try to avoid the influence of high tech, it is simply unavoidable. Every day I see new technologies and possibilities, and they find their way into my work, sometimes as an accent, sometimes as a base, sometimes just as an effective tool."

Sun Yunfan: It is rather different from your other work; in this piece you are more like an observer gazing outward.

Lin Tianmiao: The embroidery frames are just one part of this larger project. We have another interactive part, where we posted many colorful round flyers in public toilets in the form of prostitution advertisements — "Want to meet a "three high woman? Call this number." And people would call the number. An answering machine would say: "If you are interested in meeting me, please come to this address on this date." They were the date and address for our gallery opening at Qianchang.

Sun Yunfan: Did people call?

Lin Tianmiao: Yes, many people called. But we didn't know who they were. The trick we used to invite people to our gallery was the same way people used to find sex. And when we exhibited at the Platform gallery, we made almost 900 round pins, each of which contained a printed phrase describing a certain type of woman. We piled up the pins in the gallery for people to take with them. But some were left unclaimed.

Sun Yunfan: Which ones?

Lin Tianmiao: The ones printed "prostitute" or "mistress."

To read the full article click here

Masayuki Oda...and feet.

"Frozen Chicken" 2009, fabricated bronze (unique), 11 1/2 x 8 1/2 x 14 1/2"

"Wall Walker", year unknown, fabricated bronze (unique), 11 x 5 1/2 x 13"

"Lady Standing", year unknown, fabricated bronze (unique), 11 x 3 1/2 x 6"

Among many of the fun and witty bronze pieces by Masayuki Oda I found a repetition of items that deal with feet. Which is why for this post I chose to focus on what looks like Oda's foot obsession. I recommend looking at some of Oda's other pieces here. Pay close attention to their titles. Titles can really change the way you look at the piece. I'd love to have one of these pieces on my wall.