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likeafieldmouse:

Antony - The Cut (2013)
likeafieldmouse:

Antony - The Cut (2013)
likeafieldmouse:

Antony - The Cut (2013)
likeafieldmouse:

Antony - The Cut (2013)
likeafieldmouse:

Antony - The Cut (2013)
likeafieldmouse:

Antony - The Cut (2013)
likeafieldmouse:

Antony - The Cut (2013)
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likeafieldmouse:

Giacometti
likeafieldmouse:

Giacometti
likeafieldmouse:

Giacometti
likeafieldmouse:

Giacometti
likeafieldmouse:

Giacometti
likeafieldmouse:

Giacometti
likeafieldmouse:

Giacometti
likeafieldmouse:

Giacometti
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breadquilt:

Eve Lateiner
Untitled 2014
Dye and thread on linen, chambray work shirt, silkscreen mesh, and silk organza
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monicatramos:

Sometimes I want to fall of the face of the Earth
monicatramos:

Sometimes I want to fall of the face of the Earth
monicatramos:

Sometimes I want to fall of the face of the Earth
monicatramos:

Sometimes I want to fall of the face of the Earth
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cjwho:

GIFs of the Intricate Process Behind a Multilayered Painting by Julie Mehretu

Julie Mehretu, our current 100 Artists featured artist, is seen here in her Berlin studio working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area.

Images © art21
cjwho:

GIFs of the Intricate Process Behind a Multilayered Painting by Julie Mehretu

Julie Mehretu, our current 100 Artists featured artist, is seen here in her Berlin studio working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area.

Images © art21
cjwho:

GIFs of the Intricate Process Behind a Multilayered Painting by Julie Mehretu

Julie Mehretu, our current 100 Artists featured artist, is seen here in her Berlin studio working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area.

Images © art21
cjwho:

GIFs of the Intricate Process Behind a Multilayered Painting by Julie Mehretu

Julie Mehretu, our current 100 Artists featured artist, is seen here in her Berlin studio working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area.

Images © art21
cjwho:

GIFs of the Intricate Process Behind a Multilayered Painting by Julie Mehretu

Julie Mehretu, our current 100 Artists featured artist, is seen here in her Berlin studio working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area.

Images © art21
cjwho:

GIFs of the Intricate Process Behind a Multilayered Painting by Julie Mehretu

Julie Mehretu, our current 100 Artists featured artist, is seen here in her Berlin studio working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area.

Images © art21
cjwho:

GIFs of the Intricate Process Behind a Multilayered Painting by Julie Mehretu

Julie Mehretu, our current 100 Artists featured artist, is seen here in her Berlin studio working on the painting Middle Grey (2007–2009), one work in a suite of seven paintings commissioned by the Deutsche Guggenheim as part of the exhibition Julie Mehretu: Grey Area.

Images © art21
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art21:

"The erasure itself became the action. It seemed to suggest a moment in terms of how sad or pessimistic you can feel in a political environment or a historical situation. But it felt like a really hopeful gesture in the painting." —Julie Mehretu
In a new previously unpublished interview with Julie Mehretu, the artist discusses her process of layering and erasing, as well as the different references embodied in any one of her large-scale paintings.
READ: Julie Mehretu: To Be Felt as Much as Read
IMAGES: Production stills from the Art in the Twenty-First Century Season 5 episode, Systems, 2009. © Art21, Inc. 2009.
art21:

"The erasure itself became the action. It seemed to suggest a moment in terms of how sad or pessimistic you can feel in a political environment or a historical situation. But it felt like a really hopeful gesture in the painting." —Julie Mehretu
In a new previously unpublished interview with Julie Mehretu, the artist discusses her process of layering and erasing, as well as the different references embodied in any one of her large-scale paintings.
READ: Julie Mehretu: To Be Felt as Much as Read
IMAGES: Production stills from the Art in the Twenty-First Century Season 5 episode, Systems, 2009. © Art21, Inc. 2009.
art21:

"The erasure itself became the action. It seemed to suggest a moment in terms of how sad or pessimistic you can feel in a political environment or a historical situation. But it felt like a really hopeful gesture in the painting." —Julie Mehretu
In a new previously unpublished interview with Julie Mehretu, the artist discusses her process of layering and erasing, as well as the different references embodied in any one of her large-scale paintings.
READ: Julie Mehretu: To Be Felt as Much as Read
IMAGES: Production stills from the Art in the Twenty-First Century Season 5 episode, Systems, 2009. © Art21, Inc. 2009.
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Peter Doig, Studio Film Club
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hijaktaffairs:

peter doig
blotter, 1993
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welovepaintings:

Peter Doig