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Made With Color Presents: Scott Anderson’s Paintings Walk The Fine Line Between Abstraction And Representation

Scott Anderson PaintingScott Anderson Painting
Scott Anderson Painting
Once again we’ve teamed up with premiere website building platform Made With Color to bring you exclusive artist features. Each week we join forces to bring you some of the most exciting artists and designers who use Made With Color to create their beautifully designed and user friendly websites. Made With Color doesn’t just help artists create gorgeous websites but allows them to do so in a few minutes without having to touch a line of code. This week we are excited to bring you the work of midwest painter Scott Anderson whose work balances on the fine line between representation and abstraction.
The source material for Scott Anderson’s paintings are preexisting images – found photographs, his own snap shots, drawings or collages – that fall within broad archetypal categories such as portraiture, landscape, iconography, and still life.  The common denominator of these source images is distance, either due to authorship, such as in the found photographs, or time, as in the source imagery of Anderson’s own making.  The act of making new paintings from these images allows Anderson to understand them in new ways and to develop a idiosyncratic visual vocabulary.  In this sense, Scott Anderson is a translator.  What is foregrounded in his work is the way he perceives, organizes, scrambles, and prioritizes the images he makes the paintings from.  The delivery of the message IS the message.  Scott Anderson’s paintings establish an alternate reality in which they are safe to exist as ordinary illuminations of their surroundings.

Although relatively abstract, Anderson’s paintings have their origins in representational imagery.  This dependence on the objective along with his overall motivations put him in dialogue with early Modern art movements, particularly Dada, Surrealism, and Cubism.  Scott Anderson is interested in the continuation of this art historical conversation as a means to change the rules of the game as it were.  Where Modernists of all stripes were largely interested in winning the game by ending it (to paraphrase the critic, Jan Verwoert), Anderson sees this mode of objective / non-objective hybridity as one way among many in which to view the world.

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Scott Dickson’s Hidden Monuments

The name of Artist Scott Dickson‘s series Moment Monument, like the artwork, is a juxtaposition of sorts.  Using vintage postcards as collage material, Dickson obscures the monuments that are the intended subject of the photographs.  Using the vintage photos and geometric forms, Dickson relieves the monuments of their narrative and posterity.  This allows a second look at the monuments physical context – it’s pedestal, its surrounding, the space it in inhabits.  More importantly, though, it encourages a second look at monument’s conceptual context – the meaning of commemoration and memory through sculpture.

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DA’NIRO ELLE BROWN’S WEARABLE SCULPTURE

Da’Niro Elle Brown‘s new collection of wearable sculpture, Lumina, premieres tonight (9/29/12) at Skylab Gallery in Columbus, Ohio. Brown is currently a sophomore at the Columbus College of Art and Design where she studies fine art, dance, and fashion design. After the jump are images of two earlier bodies of work Brown has put out – her Industrial and Natural collections.

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Klara Kristalova’s Ceramic Sculptures Explore The Darker Side of Childhood

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Of her work, Kristalova states, “My ideas are about how it is to live a life; love and fear and what’s in between. I think and draw, looking back on past works, then gather the images together, gauging my own reaction to them, and start to build. I do everything in my studio in my yard, in my kilns. I mainly work alone because even painting a tree trunk has to be done my way, to be the right ugly.”

To view more photos of Kristalova’s work, check out Russ Crest’s 2011 post and/or click below to continue.

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Caro Suerkemper

Caro Suerkemper1

Caro Suerkemper’s graceless ladies (you know who I am) are somehow classical and vulgar at the same time- perhaps because she uses mediums typically reserved for refined culture or antiquities, such as fine china and delicate gouache wash paintings to convey her gals, usually in awkward stages of self or imposed bondage.

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Scott Hocking’s Bad Graffiti

Scott Hocking has documented one of my favorite things, bad graffiti. Starting in 2007 scott has photographed hundreds of scribbles in and around Detroit. Maybe it’s the shakey lettering, potty mouth humor,  or the never ending typos but I rather see some bad graffiti over real graffiti any ol’ day.

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Local Bay Area Artists Seize The Day At Loakal Gallery In Oakland,CA

John-Wentz

John Wentz

JetMartinez

Jet Martinez

Cameron-Thompson

Cameron Thompson

On March 29, 2014 19 artists gathered at Loakal Gallery to live-paint 19 different works that would later be part of Carpe Diem, a 24-hour art show.  Each artist was given a 4′ by 8′ panel and 24 hours to complete their work. The gallery was open to the public all 24 hours of the painting day so that people could engage with the artists and observe them at work.

From street artists to classically trained painters, they all showcased their process in a way that resembled a happening- the idea of the painters’ performance was one of main ingredient is the uniqueness of this show. The artists, challenged to complete a 4′ by 8′ panel within a tight time frame, had the opportunity to perform and, at the same time, engage with spectators. Viewers not only had the chance to observe but actually participate in the process- chance was very much a part of this 24-hour art making extravaganza.

Apart from creating and sharing the process with spectators, the artist were able to engage and work with each other. For many of the artists, art is typically a solo act, done alone in one’s studio, while street artists and muralists like Ian Ross, Hueman and Nite Owl had more experience with being out in the open while creating their work. During the event, the artists involved turned to each other with a more social approach.

Full list of participating artists: Jessica Hess, Ian Ross, Hueman, Reggie Warlock, Chris Granillo, Eddie Colla, Cameron Thompson, Brett Amory, Lisa Pisa, Nite Owl, John Wentz, John Casey, Marcos LaFarga, Jet Martinez, Cannon Dill, Lauren YS, Zoltron, Max Kauffman and Daryll Peirce.

Loakal is located in the Jack London Square district of Oakland and is open 7 days a week to the public. The entire show is on view until April 28,2014. (via Huff Post)

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An Interactive Building That Changes Colors Depending On Your Perspective And Time Of Day

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Founder of Los Angeles-based architecture and design studio Urbana, Rob Ley has yet made another venture into the world of interactive architectural installations. This time large-scale. His project “May-September” features a field of 7,000 angled multi-color metal panels constructed onto the facade of Eskenazi Hospital in Indianapolis.

According to Ley, the project began when he started wondering about the typical notion of the parking structure. Often these huge concrete constructions are unappreciated and ignored by public. Ley posed himself a challenge to turn it into a dynamic system that would interact with the viewers as they pass it by.

Together with Indianapolis Fabrications, they’ve built a huge angular aluminum and stainless steel installation (12,500 square feet) that also features an east/west color strategy (yellow and blue). The visual experience of changing colors and patterns depends on observers’ perspective and speed when they move across the hospital grounds or drive along the street. The piece also interacts with nature as every sun beam or cloud can shape the hues and saturation of colors.

As in nature, the volume and shade offered by the piece shies away from harsh, geometric patterning – instead tending towards a gentle, dappled variability in form <…> [parts of installation] work together as brush strokes to create a dynamic façade <…>.

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