If It's Hip, It's Here (Archives): paintings

Showing posts with label paintings. Show all posts

New and Beautiful Paintings by Stephen Magsig. City Views Opens At George Billis Gallery.

above: Stephen Magsig, 68 Mercer St., Oil on linen, 30 x 24"

I've been a longtime fan of Stephen Magsig's work having introduced you to his Urban Alphabet paintings and his Postcards From Detroit back in 2009.

above: Magsig's Urban Alphabet, a series of small scale paintings of letters from city signs (I own the "A", the "O" and the "K")

Stephen's latest show, City Views, opened yesterday at the George Billis Gallery in New York and features several new pieces that capture the flavor and ambiance of New York. The oil paintings on linen depict urban storefronts, cast iron facades, street corners, neon signs, bridges and city views in Magsig's inimitable style.

above: Stephen Magisg, Manhattan Bridge, Oil on linen, 30 x 60"

Void of human figures, his paintings combine the early morning light of Edward Hopper with an adept realism. Long shadows, empty street corners and closed cafes exude an emptiness while simultaneously appearing inviting. His work successfully combines the aspects of a large inhabited city with the quietude of a personal and private moment.

168 Mercer St., 40 x 30":

54 White St., 30 x 24":

Brooklyn Bridge Shadows, 30 x 60":

Duane St. Shadows, 48 x 40":

Bass Ale, 42 x 36":

40 Walker St., 62 x 48":

Bleeker St. Shadows:

Lincoln Tunnel Ventilation Tower, 24 x 30":

Rheon Cafe, 42 x 36"

281 Church St at White St., 62 x 48":

Nolita Corner, 30 x 24":

Broadway Shadows, 20 x 16":

108 Franklin St., 20 x 16":

Sunday Morning Shadows, 24" x 30":

The show runs through May 25th.

City Views, George Billis Gallery
521 W. 26th Street, B1
New York, NY 10001
April 23 - May 25, 2013
Reception, Thurs April 25, 6-8 pm
www.georgebillis.com

Stephen Magsig website

If you never saw his Urban Alphabet or Postcards from New York, see those here.

Original Art With A Side Of Fries. 38 Painted McDonald's Fry Containers by Ben Frost.

Australian artist Ben Frost is known for his kaleidoscopic Pop Art, mash-up paintings that take inspiration from areas as diverse as graffiti, collage, photorealism and sign-writing.

One of his fun series of works consists of acrylic paintings on McDonald's French Fry packaging. Happy Meal to Super sized, the familiar red and yellow Golden Arches containers feature hand-painted pop culture icons, Super Heroes, images reminiscent of Lichtenstein's pop art, Cartoons, Japanese Manga, Universal Iconography and more.

By subverting mainstream iconography from the worlds of advertising, entertainment and politics, he creates a visual framework that is bold, confronting and often controversial. With a blatant disrespect for the signifiers of our visual culture, Ben creates multi-layered surfaces of refreshing intensity.

About Ben Frost:

He has been exhibiting throughout Australia and internationally over the last 10 years, including solo shows in London, New York and San Francisco, as well as group shows in Beijing, Mongolia, Amsterdam, Berlin and Singapore.

A selected artist for the 2002 Primavera exhibition at the Sydney MCA, Ben was also guest speaker at the 2008 Semi-Permanent and AG IDEAS conferences throughout Australia.

His work has appeared in countless magazines and newspapers including Vogue, Harper’s Bazaar, Oyster, WeAr, Monster Children, Ok!, HQ, Eyeline, Australian Art Collector, Broadsheet, and Art Monthly. Television appearances include Rush TV 2010 (ABC3), The Apprentice 2009 (channel 9), The Barefoot Investor 2009 (CNBC), Sunrise 2008 (channel 7) and Today Tonight 2008 (channel 7).

In 2006 he co-founded the online art portal StupidKrap.com and also began and runs the international paste-up event ‘Paste Modernism.’

He currently lives in Sydney and operates Stupidkrap Studios, a multi-displinary art collective of 10 established and emerging artists in Annandale.

His work is in the collections of Kerry Stokes, Art Bank, Griffith University and numerous local and international locations.

text and bio from Ben Frost

Ben Frost Is Dead (his official website)

UPDATED: 45 New More Last Suppers for 2013. That's Now A Total of 105!

above: Last Supper Collage, 2013 by Akira Hashiguchi

For the past few years I have been sharing with you classic, modern, contemporary and pop culture versions of Leonardo Da Vinci's famous Last Supper painting.

The classic Bear-shaped honey dispenser which has simply become known as a "honeybear" reportedly dates back to 1957 when Ralph Gamber, future president of the Dutch Gold Honey company, reasoned that "a bear likes honey, why not a bear of honey?"

above: Mark Bradley-Shoup, Summer Gray Gas Station in Patine Blue

There's something about Mark Bradley-Shoup's work that I find really appealing and it's no wonder. His representational works on paper, abstract paintings and mixed media works each have elements that remind me of four of my favorites artists; Richard Diebenkorn's landscapes and abstracts, Ed Ruscha's Standard Oil gas station studies and prints, Wayne Thiebaud's composition and painterly style and Robert Rauschenberg's collages. Bradley-Shoup's simple and subdued color palettes, clean lines and structured compositions - all executed with a certain restraint - result in compelling and aesthetically attractive works.

Below are several of my favorite pieces of his.

Representational:

Mixed Media:

Abstract works:

Mark Bradley-Shoup earned his BFA from the University of Tennessee at Chattanooga in Painting and Drawing and his MFA from the University of North Carolina at Chapel Hill in Studio Art. Bradley-Shoup produces meticulously crafted paintings and works on paper based in part on his own manipulated photographs of both urban and rural environments.

He employs extensive use of masking tape, rulers and x-acto blades to generate precise areas of paint that emphasize the surface texture of his compositions in a way that undermines any elements of photorealist illusion. Prevalent themes in his work include “consumption and growth,” “expansion and recession,” and “the elegance of brutality.”

He has worked with various non-profit agencies and educational institutions including the Hunter Museum of American Art, the Association for Visual Arts, Allied Arts of Greater Chattanooga, the Creative Discovery Museum, Chattanooga Parks, Recreation, Arts and Culture, and the Chattanooga School for the Arts and Sciences. Currently, Bradley-Shoup is based in Chattanooga and is a Visiting Lecturer at the University of Tennessee Chattanooga.