New York Magazine
2 of 5
“The ground is covered in crushed seashells that the Osborn family collected whenever they took beach vacations growing up. They created such a beautiful effect.”
Photo: Dave Robbins
“I wanted the flowers to be a beautiful pop of color—sunset hues of pink and orange over dashes of darker colors. Each arrangement was a little different.”
Photo: Dave Robbins
“Mark and I didn’t want to sit alone, so we sat at the kids’ table with all our little cousins instead. I found the I DO signs at a collectibles store in Seattle.”
Photo: Dave Robbins
“We wanted our wedding to have a random, rustic, quirky look, so Mark and I scoured Etsy for items to add character. These beautiful animal masks are made by a woman in Portland; they must have been worn by every guest at one point during the night.”
Photo: Dave Robbins
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.
Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
Slide Header
Address, date, or similar info here.
For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.