#tttoplikes

#TTTOPMemories Beautiful 🦋🦋I love the #Butterfly series by #MarkGrotjahn Untitled, Full Color Butterfly 857, 2009, Colored pencil on paper 85 9/16 x 47 9/16 inches 217.3 x 120.8 cm (At @blumandpoe, 2010 too) MG 857 & T.O.P liked before ➡️☺️✨✨ #TTTOPart #TTTOPsart #TTTOPlikes #TTTOPsartists @choi_seung_hyun_tttop ’s like 170203 ✨💚🎨➡ @pinkwallpicture IG ・・・ full color butterfly 857 . #sfmoma #markgrotjahn — Detail, Untitled (Full Color Butterfly 857), 2009 Colored pencil on paper 85 9/16 x 47 9/16 inches 217.3 x 120.8 cm MG 857 (Also ref. via Kaikai Kiki Gallery) “In the Butterfly paintings from 1997, he created complex compositions of radiant, tonal color. This was under the great influence of many artistic milestones such as Russian Constructivism and Op Art. His Butterfly work was interrupted in 2008 when Grotjahn tore his rotator cuff and broke a shoulder bone in an accident. This unfortunate turn of events forced him to adapt his work style to his injury to a less intensive painting. By drawing simple geometric untitled face parts on paper and linen Mark began his Face Paintings and Untitled series. - The Butterfly Paintings. Using multiple colors, Mark Grotjahn’s work is an interesting combination of rationality and intuition not often available in gallery and museum contemporary world. Although there was a lot of experimenting and chance, all of the untitled paintings followed a strict work system. He would first start by mapping out the triangular radii with a black pencil. After creating the skeleton, he would carefully pick a precise number of color pencils. The main rule for the color-picking was for the color to make sense in correspondence on to another, meaning they had a connection according to their value and intensity. After picking a satisfying number of pencils he would choose them randomly one segment of the painting. At the end of 20th century, Grotjahn started to focus more on the investigation of the radiant motif in his work, which can be seen in his later Butterfly paintings. Using Renaissance techniques in order to expose the perspective of his subjects, he managed to create an illusion of narrowing and expanding geometries.” (SFMOMA)

#TTTOPsArt #TTTOPArt #TTTOPLikes #TOPLikes 170531 @choi_seung_hyun_tttop 's like ➡️ #Repost @/hin47 -- (Via @bigbang_likes) #탑 #たぷのIG #TOPinstagram #TOPstagram #TOP #たぷさん #たぷ #TOPsart#TOPisart #최승현 #崔胜铉 #choiseunghyun #TTTOP #choi_seung_hyun_tttop #TTTOPArt #TTTOPsArt #Bigbang

More on #TTTOPlikes #TTTOPsart #TTTOPArt #TTTOPsArtists @choi_seung_hyun_tttop 's like 170507/06 tho I did several other updates on this first already.... ➡️ @yuki_terase 🎨💙✨#SpencerLewis Detail, Blue painting for the red and blue studio (cheetah) 2016-17 Acrylic, oil, and flocking on cardboard mounted on linen 78 x 48 in. Spencer Lewis: Violet Paintings for the Red and Blue Studio | Harper's Apartment May 2, 2017 - June 24, 2017 🎨🔝owns Violet, 2016-17 that is also in this show. Painting in cool video not necessarily same as liked post. 💛"Harper’s Books is pleased to announce Violet Paintings for the Red and Blue Studio, Los Angeles-based artist Spencer Lewis' first solo exhibition in New York City. A selection of eight new paintings on towering cardboard sheets will be on view at Harper's Apartment. Violet Paintings for the Red and Blue Studio opens with a reception attended by the artist on Tuesday, May 2, and can be visited at Harper’s Apartment during regular hours or by appointment until Friday, June 24, 2017.  Using a combination of raw pigment, oil, acrylic, enamel, and spray paint, Lewis makes aggressive impasto paintings on large cardboard substrates, elevating the utilitarian material through his artistic interventions. Multiple coats of bold hues are confidently slapped on the corrugated surfaces—in certain cases executed directly with his fingers and hands—to create an all-over effect. Skeins of flocked pigment coagulate, ooze, drip, and cake over visibly built-up layers, as if his work was mimicking healing flesh. The scale and proportion of his compositions evince the human figure, vertically oriented and looming over the viewer when mounted to the wall. Framed within an immersive picture field, his loose and traversing brushwork echoes techniques found in graffiti art and street tagging. The influence of postwar gestural abstraction also plays a pivotal role in the work, channeling the frenetic energy of Franz Kline, Willem de Kooning, and Jules Olitski. Lewis’ approach to the medium is a reflection on the process of painting itself."

#TTTOPReposts choi_seung_hyun_tttop 's delete 170506 & repost with "orange cosco" caption & via #TTTOPlikes #TOPLikes @choi_seung_hyun_tttop 's like 170427 💚Just reposting video & my prior update for info. 💚🎨➡️ @markgrotjahn ・・・ Orange Cosco (Caption) ✨There was a show with Pink Cosco at the @gagosiangallery in the past. These works come in other colours despite the name of that exhibition. ➡️"PINK COSCO JUNE 24 - SEPTEMBER 17, 2016 - I called some paintings perspectives but I'm not interested in perspective; I called some butterflies but I don't think they are butterflies; I call my sculptures masks but they are not masks. —Mark Grotjahn Gagosian Gallery is pleased to present “Pink Cosco,” an exhibition of new, large-scale painted bronze sculptures by Mark Grotjahn. Grotjahn's work is inseparable from its present moment, yet willing to make explicit art-historical reference. He borrows from Op art, Abstract Expressionism, Pop art, and Renaissance perspective, but achieves effects that reach forward and backward simultaneously. To occupy this precarious past-future visual position requires intense concentration, calculation, and control. As he painted his Butterfly paintings, Grotjahn sought an escape from precision: he began making masks out of the cardboard boxes lying around his studio—the discarded shells of art materials, gifts, and other packaging. He painted the boxes and attached toilet paper roll tubes that stuck out between cut-out eyes. The Masks, although originally started as a casual practice, quickly asserted themselves as a new armature for painting—an armature that would straddle time just as much as the two-dimensional geometric works. The Masks unearth Cubism's methodical efforts to occupy, represent, and envelop space. Grotjahn started casting them in bronze in 2010—a material transformation that took the Masks away from ephemerality towards sequential permanence. What was once an intimate exercise is thickened, stabilized, and filled with formal artistic authority. “Pink Cosco” is Grotjahn's first exhibition of sculpture in which every work is the same form. It takes its title from a box that contained a Cosco brand stepladder." (Cont.)

#TTTOPlikes #TTTOPsart #TTTOPArt 💚 @choi_seung_hyun_tttop 's like 170430 ✨➡️@markgrotjahn --- Attending this event ➡️"THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES (MOCA), HONORS ARTIST AND MOCA BENEFACTOR JEFF KOONS
AT ANNUAL GALA ON SATURDAY, APRIL 29, 2017 CO-CHAIRED BY MOCA TRUSTEES
LILLY TARTIKOFF KARATZ AND MAURICE MARCIANO L.A – The Museum of Contemporary Art, Los Angeles (MOCA), will host its annual gala on Saturday, April 29, at The Geffen Contemporary at MOCA, in honor of #JeffKoons. For this year’s gala, co-chaired by MOCA Trustees Lilly Tartikoff Karatz and Maurice Marciano, the museum will transform The Geffen Contemporary at MOCA into an immersive setting inspired by Koons’s vibrant, highly polished, and meticulously crafted aesthetic. Bright colors, reflective surfaces, and optimistic imagery will dominate the decor. Koons’s Celebration series, which delights in the rituals and images surrounding birthdays, holidays, and other special occasions, serves as a particular point of inspiration for the evening. As part of its nod to the series, the gala will showcase Balloon Dog (Orange), Balloon Dog (Magenta), and Balloon Dog (Yellow), a series of limited edition plates by Koons, produced in France by the legendary French porcelain maker Bernardaud. Jeff Koons has received numerous awards and honors in recognition of his cultural achievements. Notably, he received the Distinguished Arts Award from the Governor’s Awards for the Arts, administered by the Pennsylvania Council on the Arts, and the Golden Plate Award from the American Academy of Achievement; was promoted to Officier de la Legion d’honneur by President Jacques Chirac; and was honored by Secretary of State Hillary Rodham Clinton with the State Department’s Medal of Arts for his outstanding commitment to the Art in Embassies program and international cultural exchange. Koons has been a board member of the International Centre for Missing & Exploited Children (ICMEC) since 2002, and he co- founded the Koons Family Institute on International Law & Policy at ICMEC, for the purpose of combating global issues of child abduction and exploitation and protecting the world’s children." (Cont.)

#TTTOPlikes #TTTOPsart #TTTOPArt 💚 @choi_seung_hyun_ttto's like 170430 ➡️ @spencerrusselllewis IG ✨Red and blue painting for the red and blue studio #2 with foot painting (Orange Basquiat head) 2016-17 Acrylic, oil, tempera, and enamel on cardboard mounted on linen 74 x 48 inches. ➡️Spencer Lewis: Violet Paintings for the Red and Blue Studio | Harper's Apartment May 2, 2017 - June 24, 2017 -- This is the same exhibition that has a painting ( Spencer Lewis: Violet Paintings for the Red and Blue Studio | Harper's Apartment Violet 2016-17 Acrylic, oil, and flocking on cardboard mounted on linen 76 x 48 inches) T.O.P commented as being part of his #TTTOPCollection too. "Harper’s Books is pleased to announce Violet Paintings for the Red and Blue Studio, Los Angeles-based artist Spencer Lewis' first solo exhibition in New York City. A selection of eight new paintings on towering cardboard sheets will be on view at Harper's Apartment. Violet Paintings for the Red and Blue Studio opens with a reception attended by the artist on Tuesday, May 2, and can be visited at Harper’s Apartment during regular hours or by appointment until Friday, June 24, 2017." (Cont.)

#TTTOPlikes #TTTOPsart #TTTOPArt 💚 @choi_seung_hyun_tttop 's like 170429 ✨ ➡️ @b.aki.b_87 IG - T.O.P posted a photo of the beautiful stained glass window by Richter in the Cologne Cathedral around April 22, 2016 while he was filming "Out of Control". I loved seeing this in person. The other image is part of From T.O.P. 1ST PICTORIAL RECORDS PHOTO BOOK (2013-14) #GerhardRichter Kölner Domfenster Cologne Cathedral Window 2007 2300 x 900 cm Catalogue Raisonné: 900 Genuine antique glass, mouth-blown "Cathedral Window was designed for the south transept of Cologne Cathedral. The work, which consists of approximately 11,500 squares of glass in 72 colours, was unveiled in 2007. Some of the brightly coloured square panes were arranged randomly, while others were selected in response to the architectural context. The design is based on 4096 Colours [CR: 359] from 1974. A documentary film about Richter’s Cologne Cathedral Window by Corinna Belz was released in 2007 in association with the Staatliche Kunstsammlungen Dresden and the Gerhard Richter Archiv. Entitled Das Kölner Domfenster [The Cologne Cathedral Window], the documentary was made over a period of two years, following the many stages of the project’s development, from the creation of glass samples based on medieval recipes to the computer generation of numerous random sequences, from the approval of the designs to the unveiling of the final window. Featuring a variety of interviews, including with Dr. Barbara Schock-Werner, Architect of Cologne Cathedral, Günter Hettinger, Stained glass restorer at the cathedral workshop, Cologne, programmer Klaus Hagemeister, and Gerhard Richter himself, Belz’s film offers considerable insight into the process of undertaking this major commission. The film, in German with English and French subtitles, is accompanied by a documentary from 1969 by Hannes Reinhardt entitled In the Studio: Gerhard Richter [In der Werkstatt: Gerhard Richter], in German, French and English. It was produced by WDR/arte and zero one film, and is distributed by Buchhandlung Walther König." (Cont.)

#TTTOPlikes #TTTOPsArt #TTTOPArt @choi_seung_hyun_tttop 's likes 170429 per @asia_chow & @jonasbrwood IGs. The Seated Ballerina,mirror-polished stainless steel with transparent color coating 83 x 44 3/4 x 77 7/8 inches 210.8 x 113.5 x 197.7 cm © Jeff Koons 2010-2015 & the Bird Art Pieces are at @gagosiangallery (@gagosianbeverlyhills) - "Opening reception: Thursday, April 27, 6–8PM I like to think that when you leave the room, the art leaves the room. Art is about your own possibilities as a human being. It’s about your own excitement, your own potential, and what you can become. It affirms your existence. —Jeff Koons Gagosian is pleased to present an exhibition of recent and new work by Jeff Koons. Making use of conceptual constructs including the ancient, the everyday, and the sublime, Koons creates luxurious icons and elaborate tableaux, which, beneath their captivating exteriors, engage the viewer in a metaphysical dialogue with cultural history." The Gagosian exhibition features new and recent works from the “Gazing Ball,” “Antiquity” and “Celebration” series. What’s the through-line? What all these different works share in common is the use of reflection. So whether it’s one of the sculptures, a plaster cast, like Hercules with a gazing ball on his shoulder, or the surface of the Sacred Heart, from “Celebration,” a ballerina from the “Antiquity” series, all the works, the surface is reflective. They all share that in common. Not just physically reflective, though. Gagosian refers to it as sort of metaphysical dialogue with cultural history. I’ve always thought of these works, especially the “Gazing Ball” works and the “Antiquity” pieces, they’re playing with metaphysics because in the reflective, you have the right here, right now. It’s affirming you, it’s affirming any movement you may make, everything’s dependent on you. But at the same time, it’s reflecting a historical object or a painting or some of the sculptures have gradations painted on them which are another depiction of time — and all these things play with the idea of the past and present and you have a sense of the future through your own potential." (Cont.) (at Gagosian Gallery)