Inspiration ATM


Philip Guston


This summer I managed to see a lot of Guston’s work in London and in Venice.

Philip Guston, Painting Smoking Eating, 1973



A Mandarin Pretending To Be A Stumblebum – The New York Times

Stuart Davis

I really like Stuart Davis’ work, the flat graphic spatiality, text in the environment, weird shapes, good colour.

This painting that has been named FIN (the last painting) was the last of Davis’ paintings, he was working on it the day he died of a stroke on June 24 1964, at the age of 71.

Stuart Davis, Fin, Casein and masking tape on canvas 60×40″, 1962–64

Stuart Davis, Owh! in San Pao, 1951. Oil on canvas, 1326 x 1067 mm

Stuart Davis, Letter and His Ecol, 1962, Oil on canvas, 24 x 30 in

Stuart Davis, Summer Landscape, oil on Canvas

The Summer Landscape painting above, is a break from his usual flat style. It’s thick and textural, and is like what Jonathan Lasker did later.

Stuart Davis, The Mellow Pad, 1954-51, Oil on Canvas

Stuart Davis, Hot Still-Scape for Six, Colors — 7th Avenue Style, 1940, Oil on canvas

Stuart Davis, Swing landscape, 1938, Oil on Canvas

I also really like that he did his project with the three objects: AnEgg Beater, a Rubber Glove, and a Fan…

Stuart davis, Egg Beater No. 4, 1928

Stuart Davis: In Full Swing. 2016 Exhibition at the Whitney, New York

Stanley Whitney

I discovered Stanley Whitney at documenta 14 in Kassel and Athens. At the time I didn’t have time to absorb his paintings but they really stood out. They demanded I slow down but I couldn’t, because there was too much to see. However since I returned and got a chance to revisit his work and look into his process, listen to him talk about his work and read interviews with him, I really love his work. He calls himself a ‘signature painter’ meaning he paints the same thing over and over. He’s very open about  his process which is really refreshing. He’s a funny guy.

Installation view of “Stanley Whitney: Dance the Orange,” 2015, at The Studio Museum in Harlem. Adam Reich ARTnews

James Brown Sacrifice to Apollo, 2008, Oil on linen, 183 × 183 cm. documenta 14, EMST—National Museum of Contemporary Art, Athens

Stanley Whitney, Installation view, documenta 14, documenta Halle, Kassel. Roman März

Stanley Whitney, Goya’s Lantern, 2012, oil on linen, 72 × 72 inches. Images courtesy of the artist and Team Gallery

Stanley Whitney, Songbird, 2012, oil on linen, 48 × 48 inches

Stanley Whitney, Just Like Ornette, 2010, oil on linen, 96 × 96 inches

Stanley Whitney, Nigerian Smile, 2012, oil on linen, 72 × 72 inches

Stanley whitney, Sweet and Slow, 183 x 183 cm

Stanley Whitney, Early Bird, 2016, oil on linen, 183 x 183 cm

Stanley Whitney, Light a New Wilderness, 2016, oil on linen, 244 x 244 cm, Galerie Nordenhake Stockholm, installation view

Stanley Whitney, Here comes the sun, 2016, Galerie Nordenhake Stockholm, installation view

Stanley Whitney, Yelling Blue , 2017 Oil on linen 80 × 80 in

Stanley Whitney photographed in his Ridgewood, New York, studio on March 13, 2017. ARTnews

Stanley Whitney in New York

Lisson Gallery video, 2016, In the Studio with Stanley Whitney

The video below is great. Whitney talks candidly through his powerpoint presentation to an audience of College students. There’s some funny moments. listen out for the Cat Food cans 🙂


‘The Color Makes the Structure’: Stanley Whitney Paints a Picture

Bomb Magazine interview: Stanley Whitney by David Reed

Bomb Magazine interview: Stanley Whitney by Alteronce Gumby

Gerard Hemsworth

Julie Mehretu


Sigmar Polke

Sigmar Polke, Untitled (Mönchengladbach 1983), 1983

Sigmar Polke,Supermarkets, 1976

Dana Schutz

Dana Schutz Google Profile

Why Dana Schutz Painted Emmett Till
By Calvin Tomkins, New Yorker: April 10, 2017 Issue

Laura Owens

When I discovered Laura Owens I had to change my plans, similar to Josh Smith, she had done everything I was going to do.

Silkscreen grounds, Trompe l’oeil shadows, paintings of paintings, pixels, digital space etc, etc,

I love her work.

Laura Owens, Untitled, 2013, Acrylic, oil and Flashe on canvas, 137.5 x 120

Laura Owens, Untitled, 2016, Oil and screen printing ink on linen, 25 x 28 x 1 inches



The Radical Paintings of Laura Owens

By Peter Schjeldahl, New Yorker: October 30, 2017 Issue

Laura Owens’ website

Pdfs of interviews





Amy Sillman

Amy Sillman Google profile

Amy Sillman’s Website

David Salle

David Salle, like James Rosenquist…

Ellen Birkenblit

Frank stella


Nicole Eisenman

Nicole Eisenman Google Profile

Kenneth Noland


Rasheed Araeen

Johnathan Lasker

The End of Relevance
Oil on Linen
60 x 80 inches, (152 cm x 203 cm)

Johnathan Lasker, Relevant Duplication, Oil on Linen 2016 30 x 40 inches, (76 cm x 102 cm)

Johnathan Lasker, Thinghood Oil on Linen 1990 64 x 80 inches, (163 cm x 203 cm)

Johnathan Lasker, The Spirit Life of Things Oil on Canvasboard 2015 12 x 16 inches (30 x 41 cm)

Johnathan Lasker, Simple Reality Oil on Linen 2014 30 x 40 (76 cm x 102 cm)

Johnathan Lasker, Perfect Penmanship Oil on Canvas 1987 78 x 100 inches, (198 cm x 254 cm)

Johnathan Lasker, Infant Wisdom Oil on Linen 1989 75 x 100 inches, (191 cm x 254 cm)

Johnathan Lasker, Date with a Split Personality Oil on Canvas 1984 36 x 48 inches, (91 cm x 122 cm)

Johnathan Lasker, 5 of Spades Oil on Canvas 1978 59 x 48 inches, (150 cm x 122 cm)

Johnathan Lasker, Moody Room Oil on Canvas 1977 30 x 40 inches, (76 cm x 102 cm)

Richard Diebenkorn

Hans Hoffman

James Havard

James Havard Google profile

Abstract Illusionism

The use of shadows to make blobs of paint look like they’re floating above the surface of the painting. Like what Laura Owens is doing now with her big thick swathes of Flashe.

Chippewa 1977 (no image yet)

James Havard, Then Came The Hangman From The East, 1976

John Baldessari


Wade Guyton


Josh Smith

I was a bit annoyed when I discovererd Josh Smith had done a series on STOP signs. But It makes sense, he did it for the same reason I did, which is the same reason Jasper Johns did flags etc.

Henry Taylor

Henry Taylor

Henry Taylor, Resting, 2011, Acrylic and collage on canvas, 64 x 77″

George Condo

Arshile Gorky

Arshile Gorky, The Black Monk (The last painting) 1948

Francis Picabia

Francis Picabia, 1913, Udnie (Young American Girl, The Dance), oil on canvas, 290 x 300 cm

Mark Bradford


Other influences: Lazy Load: Algorithms

Face Mapping

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