the madman

Acrylic on canvas, 1967

Asako Narahashi, Half Awake and Half Asleep in the Water, Kawaguchiko #7, 2003, Chromogenic Print

LTD edition tee shirt design for King Krule London show 19/9/17

Woman at a Hot Spring Hotel, 1920, Hashiguchi Goyō

 Oil on linen

Reto Schmid

William Turnbull’s Leaves 1967

Billie Holiday, 1958, Jean-Pierre Leloir

Miles Davis Billie Holiday Johnny Cash Charlie Rouse and Thelonious Monk Photos by Don Hunstein

Wolfgang Tillmans, Venus, transit (2004)

Wolfgang Tillmans’ I Don’t Want To Get Over You, 2000 (via here)  

With the rectangles, which dominate Hofmann’s compositions by 1958, the artist leads the viewer around the space in a processional way, as in a plan for a classical building.  The viewer discovers the spaces through these defining forms.  Mondrian’s writings on the contrast of rectangles to other forms helped Hofmann refine one aspect of this language, and the picturesque complexity of Kandinsky’s spatial systems informed another. Hoffman’s distinction between shifting and overlapping rectangles - both retreating and advancing in space - is a subtlety that grew out of his concept of “push and pull.”

Stephen Shore, Beverly Boulevard at La Brea Avenue, Los Angeles, California, 21 June 1975.

Stephen Shore Amarillo, Texas, August, 1973 C-print 16 x 20 inches

Stephen Shore, Room 125, Westbank Motel, Idaho Falls, Idaho, July 18, 1973