Category Archives: Location
Submission No. 51
Kenny Schachter riffs on art market pricing. Or, in fact, he rants. I know, Tom, this isn’t really your thing. Perhaps, though, it’s a metaphor for a larger problem, like the mass production of instantly disposal high-value materials disguised as
Submission No. 51
Kenny Schachter riffs on art market pricing. Or, in fact, he rants. I know, Tom, this isn’t really your thing. Perhaps, though, it’s a metaphor for a larger problem, like the mass production of instantly disposal high-value materials disguised as
Collection No. 4
The bunny project goes sideways. As seen at Oakland Art Murmur. Is more commentary necessary? I did not set foot inside the booth as I was concerned there might be an absence of naked bunnies.
Collection No. 4
The bunny project goes sideways. As seen at Oakland Art Murmur. Is more commentary necessary? I did not set foot inside the booth as I was concerned there might be an absence of naked bunnies.
Submission No. 49
Tom! I can’t remember the name of this artist. I saw this sculpture — its bottom edge is perhaps 6 feet off the ground — at the Norton Simon Museum in Pasadena. The Museum’s website does not share the full
Submission No. 49
Tom! I can’t remember the name of this artist. I saw this sculpture — its bottom edge is perhaps 6 feet off the ground — at the Norton Simon Museum in Pasadena. The Museum’s website does not share the full
Submission No. 48
by sean duffy, as seen last month at susanne vielmetter los angeles projects… please try to look past or through my low res iphone images… — miriam p.s. the box is empty inside, I took a provisional image by holding
Submission No. 48
by sean duffy, as seen last month at susanne vielmetter los angeles projects… please try to look past or through my low res iphone images… — miriam p.s. the box is empty inside, I took a provisional image by holding
Submission No. 46
The technique seems crude — no practiced trompe l’ oeil here, no grueling years spent in European art school copying the Old Masters. Instead we get brushy, broad strokes. Nevertheless, there is strangely affecting, blunt quality to the work. The
Submission No. 46
The technique seems crude — no practiced trompe l’ oeil here, no grueling years spent in European art school copying the Old Masters. Instead we get brushy, broad strokes. Nevertheless, there is strangely affecting, blunt quality to the work. The
Submission No. 45
This ceramic piece is soiled with living. A power strip and a power cord with a three-pronged plug. The ceramic is painted to resemble black plastic, black rubber, with a ridged red button and yellow prongs and screw. The colors
Submission No. 45
This ceramic piece is soiled with living. A power strip and a power cord with a three-pronged plug. The ceramic is painted to resemble black plastic, black rubber, with a ridged red button and yellow prongs and screw. The colors
Submission No. 42
From Miriam: This week I went to an open meeting. A group of people got together to brainstorm about how to help people age with strength and health and how to help those already elderly to thrive. We met at
Submission No. 42
From Miriam: This week I went to an open meeting. A group of people got together to brainstorm about how to help people age with strength and health and how to help those already elderly to thrive. We met at
Submit for Riff 