Some color

Whitney Bedford, Untitled (orange/orange), oil and ink on panel, 28 by 37 inches, 2009
Whitney Bedford, Untitled (summer), oil and ink on panel, 48 by 72 inches, 2009
Whitney Bedford, Untitled (afternoon), oil and ink on panel, 28 by 37 inches, 2009

These works are a refreshing change after all that black and white I've been posting lately. Found originally here.

Three by Vincent Romaniello

Vincent Romaniello, Untitled 708, 12x24 inches, mixed mediums on canvas, 2007

Vincent Romaniello, Untitled 711, 12x24 inches, mixed mediums on canvas, 2007
Vincent Romaniello, Untitled 710, 12x24 inches, mixed mediums on canvas, 2007

Glam Rock as Abstraction

by Owen D. Harvey

Rudolf Stingel

Rudolf Stingel, Untitled, 1993
Oil and enamel on canvas
99 ¼ x 66 1/16 inches (252.1 x 167.7 cm)
Courtesy Paula Cooper Gallery, New York

Charles Walters Photography at Colorado History Museum

Good Morning! Yesterday I enjoyed the afternoon at the Denver Art Museum - catching the "Color as Field" exhibition before it closed. Across the street, the Colorado History Museum had a free day and it was my first visit. I loved the numerous dioramas made during the depression era as a governmental effort to employ artists, sculptors, and historians. I also really enjoyed the Colorado photographs by Charles Walters. Unfortunately I couldn't find any examples of the ones at the museum on his website but I did find the above images, which are also quite interesting.

Shallow / Deep Space and the works of Kate Shepherd

Kate Shepherd, 'As the hart panteth after the water brooks'
Black Floor and Dark Yellow Walls, 2004
Enamel & oil on panel
80 x 99 inches


My sketch at the Indianapolis Art Museum of the above painting by Kate Shepherd. It took me awhile to figure out the pattern. I was really intrigued by this piece because of its balance of depth and flatness - the pattern makes the floor recede, but the yellow is nearly flat. There is a minor value change from the left side to the right which was less emphasized in person. Another thing that is difficult to translate to pixels is the gloss of this painting - She used a extremely glossy enamel on this piece which added to the depth.

Kate Shepherd, Clay Steps to Sea and Striped Sky, 2004
Enamel & oil on panel
60 x 90 inches (152.4 x 228.6 cm)

The way she breaks up empty space with separate panels interested me and influenced this piece from last year:

Nathan Abels
"Highway Audience"
Acrylic on Panels (each 24x36")

Kate Shepherd, Brave Tailor's Swath, Lit Lake on Small Midnight Billboard, 2006
Oil and enamel on panel
60 x 84 inches (152.4 x 213.4 cm)

This piece reminds me of the 'Seascape' series of photography of Hiroshi Sugimoto (below)

as well as the minimal works of Brice Marden like this:


Brice Marden, "Grove IV". 1976, Oil and Wax on Canvas, two panels, 72x108 overall