Tuesday, October 25, 2011

MY FIRST LIMITED EDITION ALISON VAN PELT – Self Portrait X Ray

        MY FIRST LIMITED EDITION

 

ALISON VAN PELT – Self Portrait X Ray

Alison Van Pelt is a Los Angeles, CA artist.  Utilizing found images Van Pelt begins the complex process of drawing and painting, then blurring and rebuilding the oil on the canvas, accumulating and disintegrating.  Van Pelts work has been exhibited in solo shows at The Fresno Art Museum and The Dayton Art Institute, as well as in galleries throughout the North America and Europe, and is represented in significant public collections, such as the Armand Hammer Museum, the Frederick R. Weisman Art Foundation, the Jumex Foundation in Mexico City, the Los Angeles County Museum of Art, NASA, and the Studio Museum in Harlem.
A poster of Van Pelt’s painting Self Portrait, X-Ray.
2011
24″ x 33 1/4″
unframed
Edition of 100

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Monday, October 17, 2011

Alison Van Pelt, William Burroughs, Allen Ginsberg, George Co... on Twitpic

Alison Van Pelt, William Burroughs, Allen Ginsberg, George Co... on Twitpic

AH ALLEN : works by louise bourgeois, claes oldenburg, alison van pelt, richard serra, nan goldin, francesco clemente, yoko ono, george condo, brice marden,bernard picasso, william s. burroughs,donald baechler, etc...

AH ALLEN




 : AH ALLEN
variant image variant image variant image variant image variant image variant image variant image variant image





Editorial Review:

Product Description:
this huge tribute volume to allen ginsberg was produced to benefit the jack kerouac school of disembodied poetics. LETTERPRESS TYPOGRAPHY BY THE GRENFELL PRESS. INCLUDES RELIEF PRINTS, LITHOGRAPHS, SILKSCREENS, C-PRINTS, DUOTONES, SILVER PRINTS. OUTSTANDING QUALITY.
contains works by and is signed by: brice marden, john giorno, nan goldin, robert frank, arthur miller, antoni tapies, anne waldman, francesco clemente, yoko ono, sebastian guinness, donald baechler, elizabeth murray, bob holman, dennis hopper, joe strummer, terry winters, alison van pelt,
gary snyder, bernard picasso, robert wilson, sandro chia, eileen myles, philip taaffe, robert creeley, gregory corso, george condo, philip glass, john mcnaughton, louise bourgeois, peter orlovsky, gus van sant, robert lavigne, mark dagley, czeslaw milosz, rolf sachs, claes oldenburg, eugene brooks, richard serra, quincy troupe, and gordon ball. signatures of william s. burroughs, louis ginsberg and jack kerouac are stamped. nam june paik and amiri baraka did not sign.

# 53 OF ONLY 200 COPIES . SIGNED BY 41 outstanding ARTISTS POETS AND WRITERS. MAGNIFICENTLY BOUND AND SLIPCASED BY MASTER-BINDER CLAUDIA COHEN


Binding: Hardcover
Edition: 1st & only - limited to 200 copies
Label: a/c editions, new york
Manufacturer: a/c editions, new york
Publication Date: 1998
Publisher: a/c editions, new york
Studio: a/c editions, new york

Features:
  • over-the-top quality
  • amazing collection of signatures
  • brand-new flawless condition
  • bound & slipcased by claudia cohen

Tuesday, October 11, 2011

Hyperrealism

Hyperrealism
 
This article is about the art movement of Hyperrealism. In painting and sculpture, the word "Hyperrealism" describes a photorealistic rendering of people, landscapes, and scenes.
Hyperrealism is a genre of painting and sculpture resembling a high-resolution photograph. Hyperrealism is considered an advancement of Photorealism by the methods used to create the resulting paintings or sculptures. The term is primarily applied to an independent art movement and art style in the United States and Europe that has developed since the early 2000s. [1]
Contents:
1. History
2. Style and methods
3. Themes
4. Hyperrealists
5. References

1. History

Belgian art dealer Isy Brachot coined the French word Hyperréalisme, meaning Photorealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. Since then, Hyperealisme has been used by European artists and dealers to apply to painters influenced by the Photorealists.
Early 21st century Hyperrealism was founded on the aesthetic principles of Photorealism. American painter Denis Peterson, whose pioneering works are universally viewed as an offshoot of Photorealism, first used [2] "Hyperrealism" to apply to the new movement and its splinter group of artists. [3] [4] [5] Graham Thompson wrote "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs." [6]
However, Hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. [7] Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike Photorealism, is narrative and emotive in its depictions. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. [8] [9] They often omitted human emotion, political value, and narrative elements. Since it evolved from Pop Art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. [10]
Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. These objects and scenes in Hyperrealism paintings and sculptures are meticulously detailed to create the illusion of a reality not seen in the original photo. That is not to say they're surreal, as the illusion is a convincing depiction of (simulated) reality. Textures, surfaces, lighting effects, and shadows appear clearer and more distinct than the reference photo or even the actual subject itself. [11]
Hyperrealism has its roots in the philosophy of Jean Baudrillard, ”the simulation of something which never really existed.” [12] As such, Hyperrealists create a false reality, a convincing illusion based on a simulation of reality, the digital photograph. Hyperreal paintings and sculptures are an outgrowth of extremely high-resolution images produced by digital cameras and displayed on computers. As Photorealism emulated analog photography, Hyperrealism uses digital imagery and expands on it to create a new sense of reality. [2] [13] Hyperrealistic paintings and sculptures confront the viewer with the illusion of manipulated high-resolution images, though more meticulous. [14]

2. Style and methods

The Hyperrealist style focuses much more of its emphasis on details and the subjects. Hyperreal paintings and sculptures are not strict interpretations of photographs, nor are they literal illustrations of a particular scene or subject. Instead, they utilize additional, often subtle, pictorial elements to create the illusion of a reality which in fact either does not exist or cannot be seen by the human eye. [15] Furthermore, they may incorporate emotional, social, cultural and political thematic elements as an extension of the painted visual illusion; a distinct departure from the older and considerably more literal school of Photorealism. [16]
Hyperrealist painters and sculptors make allowances for some mechanical means of transferring images to the canvas or mold, including preliminary drawings or grisaille underpaintings and molds. Photographic slide projections or multi media projectors are used to project images onto canvases and rudimentary techniques such as gridding may also be used to ensure accuracy. [17] Sculptures utilize polyesters applied directly onto the human body or mold. Hyperrealism requires a high level of technical prowess and virtuosity to simulate a false reality. As such, Hyperrealism incorporates and often capitalizes upon photographic limitations such as depth of field, perspective and range of focus. Anomalies found in digital images, such as fractalization, are also exploited to emphasize their digital origins by some Hyperrealist painters, such as Chuck Close, Denis Peterson, Bert Monroy and Robert Bechtle. [18]

3. Themes

Subject matter ranges from portraits, figurative art, still life, landscapes, cityscapes and narrative scenes. The more recent hyperrealist style is much more literal than Photorealism as to exact pictorial detail with an emphasis on social, cultural or political themes. This also is in stark contrast to the newer concurrent Photorealism with its continued avoidance of photographic anomalies. Hyperrealist painters at once simulate and improve upon precise photographic images to produce optically convincing visual illusions of reality, often in a social or cultural context. [19] [20]
Some hyperrealists have exposed totalitarian regimes and third world military governments through their narrative depictions of the legacy of hatred and intolerance. [21] Denis Peterson, Gottfried Helnwein and Latif Maulan depicted political and cultural deviations of societal decadence in their work. Peterson's work [22] focused on diasporas, genocides and refugees. [23] Helnwein developed unconventionally narrative work that centered around past, present and future deviations of the Holocaust. Maulan’s work is primarily a critique of society’s apparent disregard for the helpless, the needy and the disenfranchised. [24] Provocative subjects include enigmatic imagery of genocides, their tragic aftermath and the ideological consequences. [25] [26] Thematically, these controversial hyperreal artists aggressively confronted the corrupted human condition through narrative paintings as a phenomenological medium. [27] These lifelike paintings are an historical commentary on the grotesque mistreatment of human beings. [28] [29]
Hyperreal paintings and sculptures further create a tangible solidity and physical presence through subtle lighting and shading effects. Shapes, forms and areas closest to the forefront of the image visually appear beyond the frontal plane of the canvas; and in the case of sculptures, details have more clarity than in nature. [30] Hyperrealistic images are typically 10 to 20 times the size of the original photographic reference source, yet retain an extremely high resolution in color, precision and detail. Many of the paintings are achieved with an airbrush, using acrylics, oils or a combination of both. Ron Mueck’s lifelike sculptures are scaled much larger or smaller than life and finished in incredibly convincing detail through the meticulous use of polyester resins and multiple molds. Bert Monroy’s digital images appear to be actual paintings taken from photographs, yet they are fully created on computers.

4. Hyperrealists

5. References

  1. Bredekamp, Horst, Hyperrealism - One Step Beyond. Tate Museum, Publishers, UK. 2006. p. 1
  2. ^ Thompson, Graham: American Culture in the 1980s (Twentieth Century American Culture) Edinburgh University Press, 2007 P. 77-79
  3. Jean-Pierre Criqui, Jean-Claude Lebensztejn interview, Artforum International, June 1, 2003
  4. Thompson, Graham: American Culture in the 1980s Edinburgh University Press, 2007 P. 77-79
  5. Robert Bechtle: A Retrospective by Michael Auping, Janet Bishop, Charles Ray, and Jonathan Weinberg. University of California Press, Berkeley, CA, (2005). ISBN 978-0-520-24543-3
  6. Thompson, Graham: American Culture in the 1980s (Twentieth Century American Culture) Edinburgh University Press, 2007 P. 78
  7. Mayo, Deborah G., 1996, Error and the Growth of Experimental Knowledge, Chicago: University of Chicago Press. P. 57-72
  8. Chase, Linda, Photorealism at the Millennium, The Not-So-Innocent Eye: Photorealism in Context. Harry N. Abrams, Inc. New York, 2002. pp 14-15.
  9. Nochlin, Linda, The Realist Criminal and the Abstract Law II, Art In America. 61 (November - December 1973), P. 98.
  10. New Britain Museum of American Art - Educational Resources
  11. Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12.
  12. Jean Baudrillard, "Simulacra and Simulation", Ann Arbor Mich.: University of Michigan Press, 1981
  13. Horrocks, Chris and Zoran Jevtic. Baudrillard For Beginners. Cambridge: Icon Books, 1996. p. 80-84
  14. Bredekamp, Horst, Hyperrealism - One Step Beyond. Tate Museum, Publishers, UK. 2006. p. 1-4.
  15. Fleming, John and Honour, Hugh The Visual Arts: A History, 3rd Edition. Harry N. Abrams, Inc. New York, 1991. p. 680-710
  16. Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980.
  17. Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12-13.
  18. Battock, Gregory. Preface to Photorealism. Harry N. Abrams, Inc., Publishers, New York, 1980. pp 8-10.
  19. Petra Halkes, "A Fable in Pixels and Paint - Gottfried Helnwein's American Prayer". Image & Imagination, Le Mois de la Photo à Montréal, McGill-Queen's University Press, 2005 (ISBN 0-7735-2969-1)
  20. Alicia Miller, "The Darker Side of Playland: Childhood Imagery from the Logan Collection at SFMOMA", Artweek, US, Nov 1, 2000
  21. Jean Baudrillard, "The Precession of Simulacra", in Media and Cultural Studies : Keyworks, Durham & Kellner, eds. ISBN 0-631-22096-8
  22. Thompson, Graham: American Culture in the 1980s Edinburgh University Press, 2007 P. 77-79
  23. Robert Ayers, Art Critic, “Art Without Edges: Images of Genocide in Lower Manhattan”, Art Info June 2, 2006 [1]
  24. Daniel Boorstin, The Image: A Guide to Pseudo-Events in America (1992). ISBN 978-0-679-74180-0
  25. Christoper Ashley, Denis Peterson - Don't Shed No Tears"
  26. Julia Pascal, "Nazi Dreaming", New Statesman, UK, April 10, 2006
  27. George Ritzer, The McDonaldization of Society (2004). ISBN 978-0-7619-8812-0
  28. Christoper Rywalt, "Denis Peterson", NYC Art, June 7, 2006
  29. Robert Flynn Johnson, Curator in Charge, "The Child - Works by Gottfried Helnwein", California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, ISBN 0-88401-112-7, 2004
  30. Daniel Boorstin, The Image: A Guide to Pseudo-Events in America (1992). Random House ISBN 978-0-679-74180-0
  31. During 1967 Paul Thek's exhibition at the Pace Gallery in New York City called Death of a Hippie, [2], predicted the hyperrealist sculptural movement.
· · Art movements

5th to 18th century Merovingian · Carolingian · Ottonian · Romanesque · International Gothic · Renaissance (14th-15th) · Mannerism (16th) · Caravaggisti (16th) · Baroque - Classicism (17th) · Rococo - Neoclassicism - Romanticism (18th)

19th century Nazarene · Realism · Historicism · Biedermeier · Gründerzeit · Barbizon school · Pre-Raphaelites · Academic · Impressionism · Post-Impressionism · Neo-impressionism · Divisionism · Pointillism · Cloisonnism · Les Nabis · Synthetism · Symbolism · Hudson River School

20th century Cubism · Orphism · Purism · Synchromism · Expressionism · Scuola Romana · Abstract expressionism · Kinetic art · Neue Künstlervereinigung München · Der Blaue Reiter · Die Brücke · New Objectivity · Dada · Fauvism · Neo-Fauvism · Precisionism · Art Nouveau · Bauhaus · De Stijl · Art Deco · Op art · Vienna School of Fantastic Realism · Pop art · Photorealism · Futurism · Metaphysical art · Rayonism · Vorticism · Suprematism · Surrealism · Color Field · Minimalism · Nouveau réalisme · Social realism · Lyrical Abstraction · Tachisme · COBRA · Action painting · Fluxus · Lettrism · Letterist International · Situationist International · Conceptual art · Installation art · Land art · Performance art · Systems art · Video art · Neo-expressionism · Neo-Dada · Outsider art · Lowbrow · New media art · Young British Artists

21st century Hyperrealism · Intervention art · Stuckism International · Remodernism · IMMAGINE&POESIA · Pseudorealism · Sound art · Superstroke · Superflat · SoFlo Superflat · Relational art · Video game art

Related articles Avant-garde · Modern art · Postmodern art
Categories: Modern art, Photorealism
The article "Hyperrealism (painting)" is part of the Wikipedia encyclopedia. It is licensed under the terms of the Creative Commons Attribution/Share-Alike License.

Oil Painting by Robert Dawson, Inspiration - Photorealism and Hyperrealism


 

Inspiration - Photorealism and Hyperrealism

In thinking about what to paint, I find myself remembering art movements and artists I discovered in art school. When browsing art in bookstores and libraries, I tend to initially gravitate towards more realistic art. And one of the art movements I loved in art school is photorealism.
Since graduating, it seems that a new variety of that movement has sprung to life called hyperrealism, which essentially takes photorealism to a new level by making a work of art look more realistic than a photograph. This is achieved by adding richer shadows, brighter highlights, and more saturated colors. In the Wikipedia article on hyperrealism above, I found several artists whose work I particularly admire:
You might ask what these artists have in common or, conversely, what others in the list of hyperrealistic artists lack. The answer is that the artists whose work I admire the most tend to interpret hyperrealism more creatively or loosely. They don't seem as bound to the creed of their movement as others in the list.
What I like about photorealism and hyperrealism is that they showcase technical proficiency. You cannot deny that the artist can paint, draw, or sculpt what he or she sees. (That is, unless they employ technical assistance, like a projector or tracing paper, tricks that may be common and can certainly be justified with a simple, if "immoral," plea to the inherent goodness of technological progress.) You look at their work and instinctively think, "This artist has talent."
However, what I dislike, and more so in the case of photorealism, is that their work typically looks exactly like a photograph. But, so what? The question isn't, "Can you make a painting look like a photograph?" but, rather, "Why should you?" I applaud technical ability, that seemingly basic ability to draw what you see, but such fidelity, while a fundamental of visual art, does not define or encapulate it. Art is more than drawing. Art is also about creativity and ideas.
So, while I deeply admire photorealism and hyperrealism, I find that they lack creativity and, aside from the call to appreciate beauty in the everyday, fail to communicate compelling ideas.
Yet, we can all certainly agree that photorealistic and hyperrealistic art can be visually stunning. With that in mind, here is another gallery of hyperrealistic artists, many of which do offer visually stunning works of art.

Oil Painting by Robert Dawson Inspiration - Photorealism and Hyperrealism

Inspiration - Photorealism and Hyperrealism

In thinking about what to paint, I find myself remembering art movements and artists I discovered in art school. When browsing art in bookstores and libraries, I tend to initially gravitate towards more realistic art. And one of the art movements I loved in art school is photorealism.
Since graduating, it seems that a new variety of that movement has sprung to life called hyperrealism, which essentially takes photorealism to a new level by making a work of art look more realistic than a photograph. This is achieved by adding richer shadows, brighter highlights, and more saturated colors. In the Wikipedia article on hyperrealism above, I found several artists whose work I particularly admire:
You might ask what these artists have in common or, conversely, what others in the list of hyperrealistic artists lack. The answer is that the artists whose work I admire the most tend to interpret hyperrealism more creatively or loosely. They don't seem as bound to the creed of their movement as others in the list.
What I like about photorealism and hyperrealism is that they showcase technical proficiency. You cannot deny that the artist can paint, draw, or sculpt what he or she sees. (That is, unless they employ technical assistance, like a projector or tracing paper, tricks that may be common and can certainly be justified with a simple, if "immoral," plea to the inherent goodness of technological progress.) You look at their work and instinctively think, "This artist has talent."
However, what I dislike, and more so in the case of photorealism, is that their work typically looks exactly like a photograph. But, so what? The question isn't, "Can you make a painting look like a photograph?" but, rather, "Why should you?" I applaud technical ability, that seemingly basic ability to draw what you see, but such fidelity, while a fundamental of visual art, does not define or encapulate it. Art is more than drawing. Art is also about creativity and ideas.
So, while I deeply admire photorealism and hyperrealism, I find that they lack creativity and, aside from the call to appreciate beauty in the everyday, fail to communicate compelling ideas.
Yet, we can all certainly agree that photorealistic and hyperrealistic art can be visually stunning. With that in mind, here is another gallery of hyperrealistic artists, many of which do offer visually stunning works of art.

Alison Van Pelt w/Lee Krasner, oil on canvas, 9ftx7ft, Brooklyn, New York


Alison Van Pelt w/Georgia O'Keefe, oil on canvas, 9ftx7ft, Brooklyn, New York


American Horse, oil on canvas, 40"x30", 2010


Saturday, October 8, 2011

Creating the new century : contemporary art from the Dicke Collection (Book, 2011) [WorldCat.org]

Creating the new century : contemporary art from the Dicke Collection (Book, 2011) [WorldCat.org]

Interview with WLM Art Advisor Hayley Miner

Hayley Miner gets interviewed

September 3, 2011

Interview with WLM Art Advisor Hayley Miner

Posted on September 1, 2011 by OchiGallery| Comments Off
Hayley in the middle of a Mia Babalis installation at Ochi Gallery New Years Eve
Hayley Miner has worked as an interior designer at her firm, Hayley Miner Design and is currently a partner of WLM Advisors art consulting (wlmadvisors.com).  She splits her time between Los Angeles, CA and Sun Valley, ID.
How did you first get interested in contemporary art?
I’ve always been moved by art so I started to go to art fairs around the world.  The contemporary art fairs were the most stimulating.  The main draw of contemporary art is the accessibility of living artists’ works.  As an art consultant, having the chance to talk with them about their work, attend their lectures and see them in their work environment is a plus.  As I was looking for art for clients’ homes, it was evident that unless they have heirlooms to display, most of them were interested in collecting vibrant and more accessible works that have significance yet feel current.  It’s also hugely inspiring to be in L.A. as it has become the hot center for contemporary art.  With its numerous prestigious art schools exploding with talent as well as the impressive number of gallery districts, collecting contemporary art has never been more enjoyable and enriching.
As a contemporary art consultant with an interior designer background, how do you balance “matching art to the couch” with your interest in cutting-edge art?
I don’t!  I started my design education at Michael S. Smith Inc. where I was lucky to work with the most talented and celebrated boss as well as the best resources. We would never source art to match anything!  The clients I worked with typically had their own impressive collection that we would mine from.  If they didn’t, we would scour auctions, art fairs and established galleries to compile collection-worthy pieces.  To set the right mood and style for a room, sometimes we do select a piece of work with that in mind, but never because it goes nicely with the sofa or that it has the right colors for the room.  That’s objectionable in my design book!!  Quality design deserves important art, regardless of color scheme.
 What are some of the most important pointers you give to neophyte collectors?
I’m sure most of them have heard the art collecting adage: buy what you love within your budget.  I always remind collectors that they have to live with the piece and look at it daily so put your money into a piece that brings you immense joy, lifts your spirits and/or ones that you feel represent your philosophical & social beliefs.  Something you would like your children to keep one day would be a bonus.  If budget is a main concern, instead of allowing that to stop you, look into photography, prints or works on paper.  They are typically more affordable than paintings or sculptures.
Any artists more people should know about?
El Anatsui, Vik Muniz, Katy Moran, Mona Hatoum, Annie Lapin, Alexandra Grant, Alison Van Pelt.
 What kind of work are you drawn to?
Difficult work, works that expose the human condition and ones that makes us think or feel deeply.  Labor intensive work.  Works that require an emotional investment.  (I loathe lazy works by artists who give us flimsy slap-ups or works that are intentionally bad).
Who are you personally most interested in collecting now?
Louise Bourgeois, William Wiley, Eric Fishl, Peter Doig, Mark Bradford, Alex Prager, Cecily Brown, Kelly Kleinschrodt.
If there were no constraints (money, availability, access etc.), what piece of art would you most like to own?
It is pure torture to allow only one piece of art! Forgive me if I cheat slightly but…Here are my top 5:
1. Louise Bourgeois’s “Cell (Choisy”) 1990-1993 (a marble house with a guillotine above)
2. A self-portrait by Lucien Freud
3. Cecily Brown’s “Girls eating birds” 2004
4. Gerhard Richter’s painting he did in Japan of bamboo fields (exhibited at Documenta 1992)
5. Andy Warhol’s “Orange Marilyn”
Favorite Ketchum spot for people watching?
A toss up: Outdoor summer concerts and our monthly art walks. At the Avett Brothers concert at the Sun Valley Pavilion this summer, the grooviest bunch of fun loving and impressive dancers were spotted.
Favorite LA spot for people watching?
Culver City gallery opening nights, especially the ones during the September art storm. The most outrageous sartorial choices, dogs in strollers, the most touted L.A. food trucks, celebrities, hipsters and groovy art collectors abound.  Besides that, I would say the stretch of Silverlake where Intelligentsia cafe is located.  Total hipster central.  Joan’s On Third is popular among the fashion and film industry crowds. Oh, and of course, Gjelina resto in Venice.
Favorite Ochi Gallery show?
Young collectors show.  I look forward to more of these types of well-curated, fresh and exciting shows.  Also, I am obsessed with the newly launched Ochi Shop.
We appreciate that!
Favorite artist quote?
Louise Bourgeois often spoke of pain as the subject of her art, and fear.  Her work expresses themes of anxiety and loneliness.  About the spiritual and emotional energy that she poured into her work she said, “I’m afraid of power. It makes me nervous. In real life, I identify with the victim. That’s why I went into art.”
Fall shows you’re looking forward to?
Pacific Standard Time – the art event starts in October celebrating the birth of L.A. art scene.
“De Kooning: A Retrospective” at MOMA, opening Sept 18, 2011
Kelly Kleinschrodt’s solo show at Carter & Citizen unveils Sept 10
Frieze Art Fair in London
Art Platform L.A. – Oct 1
Ai Weiwei’s installation of “Circle of Animals/ Zodiac heads” at LACMA
Maurizio Cattelan at the Guggenheim Nov 4





Hayley with a Marilyn Minter

Monday, October 3, 2011

Orange Bird, oil on canvas


Red Bird, oil on canvas


Red/Silver Bird, oil on canvas


Red Kiss, oil on canvas


Hot Pink Nude, oil on canvas


Deep Pink Bird, oil on canvas, Alison Van Pelt


Blue Bird, oil on canvas