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. 47

Three paintings. (Why collections of three for this and No. 46, Miriam? Shouldn’t we stick with one submission, in most cases?) The first is like a combination of a Rothko color-field abstraction and… a doodle. You can’t help but see

Submission No. 47

Three paintings. (Why collections of three for this and No. 46, Miriam? Shouldn’t we stick with one submission, in most cases?) The first is like a combination of a Rothko color-field abstraction and… a doodle. You can’t help but see

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. 44

Love. Love. Love. Love. This is an amazing piece. I see a blank, grayish, tannish background, darkening, turning blue at the bottom. It glows, halo-like, around the subjects head. There is a yellow nimbus that grows brighter the more you

Submission No. 44

Love. Love. Love. Love. This is an amazing piece. I see a blank, grayish, tannish background, darkening, turning blue at the bottom. It glows, halo-like, around the subjects head. There is a yellow nimbus that grows brighter the more you

Submission No. 43

From Miriam: I was reading Paul Bowles’ travel writing, Their Heads Are Green and Their Hands Are Blue. Much of it diary entries. The following passage provoked me somehow. Bowles and his traveling companion Abdeslam, a devout Moslem, are visiting

Submission No. 43

From Miriam: I was reading Paul Bowles’ travel writing, Their Heads Are Green and Their Hands Are Blue. Much of it diary entries. The following passage provoked me somehow. Bowles and his traveling companion Abdeslam, a devout Moslem, are visiting