Artist Mary Sweeney’s Honeybees reflect her fascination with insects. These two meticulously rendered Mandalas produce a complex aura that alludes to the mystery surrounding the disappearance of beehives, and how their disease imperils all life on Earth. The lacelike rendering of the stilled bodies rekindles their steady droning, if only in the memory of the viewer.
You know, I am such a sucker for anything that lights up, and I was utterly captivated by Chasing Rainbow, an LED sculpture on exhibit at the Brooklyn Museum. The circuitry behind the lighting allows it to change color and patterns continuously, but of course I wanted to capture as much pink as possible!
From Moma Dot Org:
Slow Swirl at the Edge of the Sea pictures two creatures dancing between sea and sky, surrounded by arabesques, spirals, and stripes. The forms “have no direct association with any particular visible experience, but in them one recognizes the principle and passion of organisms,” Rothko said. For him art was “an adventure into an unknown world”; like the Surrealists before him, Rothko looked inward, to his own unconscious mind, for inspiration and material for his work.
Mark Rothko applied the paint in transparent layers — a practice he retained when he abandoned representational images and began to develop his large–scale color field paintings a few years later.
Jamie Wyeth (son of artist Andrew Wyeth) began painting Pumpkinhead (1972) as a portrait of his friend, Jimmy Lynch, but eventually finished the painting himself, wearing the pumpkin as a mask.
Cropped at the ankles and and wearing a too-small military jacket, he stands alone in a hazy field strewn with dry autumn leaves. To the artist, the jack-o-lantern carries an eerie charm. “I always loved the carved face just leering at you…” he admits.
Photographed By Gail at the Museum of Fine Arts in Boston.
Elad Lassry (born 1977, Tel Aviv, Israel) is an Israeli-American artist who lives and works in Los Angeles. His chromogenic color prints — still life compositions, photocollages and studio portraits of friends and celebrities — never exceed the dimensions of a magazine page or spread and are displayed in frames that derive their colors from the dominant hues in the photographs. I love how this photo looks so much like an ad, and thus succeeds on the same level as the work of Andy Warhol to elevate commercial images to the realm of fine artwork.
Nailpolish (2009) is a new acquisition to the photography collection of the Museum of Modern Art in NYC.