Vox contextualizes Grant Wood’s 1930 painting American Gothic. One thing they failed to point out is the significance of that Gothic-style window – it’s like a carbon fiber hood on a Prius. Whether it’s pathetic, aspirational, or just how life works is up to you.
“I don’t know what painting teaches me. I just know that it frees me.” Jim Carrey has enthusiastically shared his paintings with the public. But in SGG’s documentary, we see him open up about this lifelong passion, as well as the stories behind some of his artworks.
Simon Stålenhag is back with more retro sci-fi paintings. Set in an alternate ’90s US and centered on a young girl traveling with her robot, The Electric State is a 120-page art book with a supplementary narrative written by Simon as well. More on his site.
“I think the strongest paintings reflect the highs and lows, kinda like the full spectrum.” Callen Schaub makes gorgeous abstract paintings that combine energy with serenity, but watching him at work and hearing him talk about his process will make you appreciate them even more.
Did you know that The Great Wave‘s focus is arguably not the wave but Mt. Fuji, since it’s part of a series of paintings about the mountain? Or that there’s a boat at the bottom of the painting? Seriously, we missed that one big time. More on The Art Assignment’s video.
Artist Stephen Andrade loves to make realistic pulp fiction or Choose Your Own Adventure covers based on popular series such as Rick and Morty, Labyrinth and Seinfeld. Prints of the Get Schwifty cover will be available on Gallery1988’s Rick and Morty exhibit.
Stålenhag’s follow up to Tales from the Loop, Things from the Flood is still filled with paintings of Nordic countrysides invaded by mechanical beings and relics. But here a flood from a “huge abandoned underground facility” washed up strange organic creatures as well.
The prolific artist Carla Hananiah loves to paint landscapes of New Zealand and Australia, often at dawn and dusk. Speaking about Carla’s latest collection, Arthouse Gallery says they “form existential ruminations on human fragility and finiteness.” We just find them calming.