For 30 years Stuart Shils painted urban skylines and tuscan landscapes, painting outside or by looking through the window. He simpliefied the landscape into bright, vague, and subtle studies of color. Now he’s at that same window, his view turned inward, making collage, camera and light projections. They’re called Window Collages. The titles are poetic/scientific documentations:
night window the following night, 9.7.16,9:50pm
‘your cities do not exist. perhaps they have never existed’
italo calvino
night window with calvino’s cities again, 9.6.16, 9:50pm
papers, tape, projected light, glass
same window, a change in light, 5:54pm, 9.6.16
day window, 9.6.16, 5:33pm
day window, western sky, 9.5.16, 7:00 pm
night window with a glimpse of broad street in a puddle
paper, tape, projected light,9.5.16,9:45pm
night window for a new month, 9.3.16, 11:30pm
papers, tape, projected light, glass
‘not ideas about the thing, but the thing itself’
wallace stevens
window with paper and tape, early summer
night window in late august, sea birds asleep on a beach
papers, the window sill, reflected light.
night window in bleached light, the premonitions of laocoon on the beach.
papers, tape, reflected light. late august.
corner of a night window: landscape in late august after a lot of heat
papers, tape, projected light, the window
night window with paper towels and tape
7.28.16, 11:45pm
This article by Michael Agresta was published in the Texas Observer in 2016. The lynchings have brought it to us again. San Antonio painter Vincent Valdez unveils a monumental work on the persistence of white supremacy in America. A casual art viewer, wandering into the David Shelton Gallery in Houston from this month and encountering …
What can one detail tell us about a scene? If you’re Lynne Ramsay: absolutely everything. In this episode from “Every Frame a Painting” Tony Zhou considers the poetic possibilities of cinema. He presents ideas for film that you can also be applied to paintings. (7 minutes)
Yesterday I made a post about tracking viewer’s eye movements on a painting. Today I have the reverse: Graham Fink stairs at a blank screen, and the eye tracking software draws the picture as he moves his eyes.
Recently I posted about Edward Hopper’s influences in painting and printmaking. This is part three of four (I think). Today is all about Hopper’s process. There is some of my own actual near-thinking and observation, plus a lot of internet research went into this, but I had trouble finding much for details that went beyond …
Stuart Shils Window Collages (Part 3)
For 30 years Stuart Shils painted urban skylines and tuscan landscapes, painting outside or by looking through the window. He simpliefied the landscape into bright, vague, and subtle studies of color. Now he’s at that same window, his view turned inward, making collage, camera and light projections. They’re called Window Collages. The titles are poetic/scientific documentations:
night window the following night, 9.7.16,9:50pm
‘your cities do not exist. perhaps they have never existed’
italo calvino
night window with calvino’s cities again, 9.6.16, 9:50pm
papers, tape, projected light, glass
same window, a change in light, 5:54pm, 9.6.16
day window, 9.6.16, 5:33pm
day window, western sky, 9.5.16, 7:00 pm
night window with a glimpse of broad street in a puddle
paper, tape, projected light,9.5.16,9:45pm
night window for a new month, 9.3.16, 11:30pm
papers, tape, projected light, glass
‘not ideas about the thing, but the thing itself’
wallace stevens
window with paper and tape, early summer
night window in late august, sea birds asleep on a beach
papers, the window sill, reflected light.
night window in bleached light, the premonitions of laocoon on the beach.
papers, tape, reflected light. late august.
corner of a night window: landscape in late august after a lot of heat
papers, tape, projected light, the window
night window with paper towels and tape
7.28.16, 11:45pm
(etc) [divider line_type=”Full Width Line
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This article by Michael Agresta was published in the Texas Observer in 2016. The lynchings have brought it to us again. San Antonio painter Vincent Valdez unveils a monumental work on the persistence of white supremacy in America. A casual art viewer, wandering into the David Shelton Gallery in Houston from this month and encountering …
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