A living room at the bottom of a lake


Went to the Junko Mizuno exhibit with my friend at Gallery Nucleus. Here’s some of my favorites.

I especially liked the picture from July, the Japanese story of Tanabata.  My friends were also very curious of the story.  More can be read here: http://en.wikipedia.org/wiki/Tanabata 

My version of the story always gets me in trouble, but it goes like this: A farmer saw a beautiful alien from the moon swimming in the river.  He stole her magical scarf (the scarf gave the alien powers to fly back to the moon).  The farmer took the alien captive, and succumbing to the Stockholm syndrome, falls in love with the farmer. The alien’s father finds out about the entire shenanigans and gives the farmer difficult trials to overcome.  He fails and the milky way river forms keeping the lovers apart.  The father took pity and figured out a way they can meet once a year on July 7th.     


Realizing there are still a ton of Marvel portraits that I’ve yet to post to tumblr! 

I’ll be doing an AP sale of every print from my show, HOPEFULLY soon, so look for that. 


Maja Ruznic

From The Removal of Fingers and Other Body Parts

In this new work, I look at how the woman’s body has historically been used in war as a site to assert power through rape and a vehicle for inter-generational trauma.  Inspired by the writings of Julia Kristeva, I made paintings that explore the elements of war and violence that continue to ooze long after the violence has ended.  Kristeva defines the abject as something that provokes disgust, a human reaction to a threatened breakdown in meaning caused by the loss of the distinction between subject and object or between self and other.  Kristeva associates the abject with the eruption of the Real into our life—the Real being the materiality that shows us our own death.  Her writing creates an opening for me to look at how women who have been raped in war carry guilt and shame for the rest of their lives and continue to be degraded by their communities.  The figures in my narrative paintings are broken, defeated and dirty.  Some of the figures have missing limbs and it is difficult to differentiate between the victim and the aggressor.  I blur the line to show how in times of war, aggressors can become emotionally vacuous while before the war they were “healthy” men.  Traumatic events usually leave both individuals—the victims as well as the aggressors emotionally scarred.  Despite their embodied traumas, I have imbued these figures with a redemptive quality and given the abject within them a place to thrive.  (artist statement)

1. And She Carved Him Out Herself

2. Bath Time

3. On His Way

4. Accident

5. The Big Purge




Mortality is a myth, Ted Lawson


Beautiful Photos and Video of the Highly Venomous Portuguese Man-of-War

tchmo, Untitled 20140804s, Giclée print


tchmo, Untitled 20140804s, Giclée print


Olafur Eliasson: Your Lost Outside, 2014 
24 partially silvered glass spheres 24 stainless steel wall mounts 190 x 190 x 20 cm One of the more selfie inducing pieces on show this year . 

Tanya Bonakdar, Frieze New York 2014


Lin Tianmiao

on artnet

At Galerie Lelong

Lin Tianmiao is a Chinese born artist who studied in the U.S.A during the early 1980’s, where she soon become a successful textile designer. Her career as an artist did not begin until she moved back to China in 1994 with her artist husband where they opened up their hutong studio to show their works to the public. She was quickly placed into the group of female Chinese artists making nuxing yishu ‘female art’.

Lin Tianmiao’s paintings, sculptures, and installations have always been about a series of dual tensions. These are frequently played out in her works through contrasts between materials, but they are also evident in binary themes such as male versus female, function versus form, and physical versus psychological experience. Underlying all of these themes is a keen exploration of a physical experience, at times emphasizing the female body. We see this in the works Chatting and Mothers!!!.
Lin is one of only a handful of women artists of her generation born in the 1960s to have emerged during the 1990s when the Chinese art world was coming of age and gaining substantial international recognition. Her works over the past twenty years are as much about her personal journey as an artist as they are about a desire to articulate broader social issues. Through her focus on a female experience, she comments on the enormous social progress made in Chinese society during Mao Zedong’s tenure, yet she hints that some promises remain unfulfilled. Her consistent exploration of these issues, sometimes latent, makes her a significant artist of our time. This exhibition represents Lin Tianmiao’s first major solo exhibition in the United States.
Bound Unbound: Lin Tianmiao is part of Asia Society’s yearlong programmatic focus on China, titled China Close Up.


Klari Reis

From A Catolog of 365 Petri Dishes


Plastic Bags @ Jeremy Scott S/S 2011