#jack-cushing

#jack-cushing

"It's an amalgamation of the Chicago neighborhood aesthetic with a Bulls fan, quite literally. It's kind of on the nose, but that's how I juxtapose the elements of my work, with the structure of a home and then a figure who is around or in the home."

The courtyard of MoMA PS1 in Queens was buzzing during Wednesday night's opening of Greater New York, now in its sixth edition. Our team shares first impressions from the expansive show, which included more than 50 New York City artists at the beginning of their careers.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

To call the oil paintings of Eyvind Earle "landscapes" is accurate but very sorely wanting. For more than seventy years, Earle turned his unique refracting eye on what he called the "stupendous infinity of nature," interpreting what he saw through a long lens shaped by a very particular kind of mythopoeia.

"The first step towards a cure is admitting you have a problem," artist Josh Kline writes, highlighting the inequities in New York City's real estate market and its impact on art.

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

Before he was a filmmaker, David Lynch was a painter and, if you're familiar with his esoteric filmmaking practice - peppered as it is with some of cinema's most indelible imagery - it all makes a lot of sense. A year after the auteur's passing, a newly opened show at Pace Gallery's Berlin space, Die Tankestelle, foregrounds Lynch's career-spanning fine art practice and its inextricable link to his cinematic oeuvre.

When I was a kid, I was painting, as a few of my classmates were, because my teacher was a painter. We were making paintings and different things as well - silkscreens for dances or basketball games, mobiles ... It was around 1963, so a lot of different types of artistic endeavours were happening, which played into what he was teaching us. That was kind of where I started.

The next PST Art will highlight exchange around the Pacific across several centuries, from the arrival of Chinese porcelain in the Spanish missions to the influence of Japanese visual culture on the city's architecture and design, to the ongoing impact of contemporary Korean pop culture.

These paintings reveal the layers of history that undergird modern Los Angeles. Yaanga Lies Under the 101 imagines the city's earliest Tongva inhabitants as they made their home on the land that, in the modern day, runs beneath the Hollywood Freeway. Campos's process mimics this archaeological layering: each canvas begins with a screenprinted underlayer that is then painted over in acrylic, and then once again layered with screenprinted details.

Artist Ayelet Gal-On does not just paint; she builds, layering oil, acrylic and plaster on canvas. Gal-On's signature subjects for "Taken by the Wind, Swept by the Light," her upcoming solo exhibition at Gallery 9 in Los Altos, are white dresses that appear to hang on a line, defying the stillness of the canvas. "I love the process of playing with color," says the artist.

I work outside, carving and shaping the stone. Outside my house, I have a table, an extension cord, and tools. It's very cold and I have to wear all my winter clothes. When it's too cold, I do the filing and finishing work inside after I shape it outside. I listen to all kinds of music. I listen to Eminem all the time; his albums are all my favorites. For drawings, I work at Kinngait Studios or at home on my kitchen table.

We're just a week away from Frieze LA, when East Coast dealers and local artists alike descend upon the Santa Monica Airport, but this isn't Renée Reizman's first rodeo. Since the critic and artist moved to the area almost 15 years ago, she's witnessed blue-chip New York galleries set up shop and sideline the irreverent, DIY spaces that shape the local art scene. Without these spaces, Reizman writes, she would not have discovered what art can be outside of the white cube.

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Mornings are best for concentrated work. In the winter, I turn on the heat at 8am and get started around 10am. Summer, I start around 9am. I have two areas in the studio for projects. The large, heavy wood sculptures are carved in the front section of the studio, closest to the roll-up wide door. Smaller sculptures are placed on a hydraulic workbench. Before I start, I focus, connect with the Source, and ask for guidance.

I first saw Stalker in the mid-1980s. I grew up in a very rural community, but I had a group of friends who all wanted something that we couldn't really get where we lived. With film, that was a possibility. I'm in my fifties now. I keep trying to figure out what I'm doing as an artist and how to keep going.