#steven parrino

[arthuntblog]

Steven Parrino [USA] (1958-2005) - 'Untitled', 1990. Acrylic and enamel on canvas (182.9 x 121.9 cm).

[airconditionerkhan]

Steven Parrino Untitled 1997

[slack-wise]

Steven Parrino

[archiveofcanvas]

Steven Parrino, "Star Suckers (The Bastard Kids of Andy Warhol)", metallic enamel and graphite on slack canvas (1995)

[sapphisae]

Cady Noland’s subjects are not social anthropology, but clues to herself. She uses emotional triggers that represent weakness. Crashed Car (Cady was in a wreck at a young age), Plane Crash Photos (Cady is afraid to fly), The Family and the SLA that kidnapped Patty Hearst (Cady has a fear of cults). What I mean is, Noland is not making arbitrary choices as a pop artist would. To pop artists all images generated by society are equal and impersonal. Cady’s choices are highly personal; they are based on her fears, and how she chooses to deal with them. She aestheticizes her fears and tries to control them by pinning them up. [Steven Parrino, 2001]

[hornworts]

Steven Parrino, Candy Stevens (Pink Disaster), 1988, in the exhibition "Nihilism is Love" at Kunstmuseum Liechtenstein

[mosertone]

Steven Parrino

[fishcake01]

steven parrino 1993

[eahostudiogallery]

Seeing Reds

Georgia O’Keeffe - Sunrise, 1916

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Qian Jiahua - Delusion – Right & Left

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Cy Twombly

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Chen Ting -Shih

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Mark Liam Smith

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Jose Davila

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Steven Parrino -  Devil’s Day, 1995

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Kim Dorland

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Gerhard Richter - Abstraktes Bild Fuji 839-62

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Adrian Hobbs

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Bob Dylan - Woman In Red Lion Pub

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Jiro Takamatsu - Tape

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McArthur Binion - Ink- Work VII

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Rashid Johnson - Anxious Red Painting

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Mario Schifano

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 anomiebyjender - red velvet devil bonnet

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Frank Stella - Untitled, 1959

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Wednesday: show of hands

[badarchitecturesucks]

The Parrinos Installation view, MASSIMODECARLO Milan (left to right) John M. Armleder, Olivier Mosset (foreground) Günther Förg, (background), John M. Armleder (background), Steven Parrino

[arthuntblog]

Steven Parrino [USA] (1958-2005) ~ 'Freak Wad (Fuckhead Bubble Gum)', 1995. Enamel and gesso on slack canvas (182.9 x 124.5 cm).

[archiveddreams]

Steven Parrino

[spaceintruderdetector]

Helvete 3: Bleeding Black Noise : Amelia Ishmael : Free Download, Borrow, and Streaming : Internet Archive

This third issue of Helvete focuses on the sonic aspects of Black Metal, specifically its interactions with Noise—the interruptions, creations, and destructions of signals. Its title, Bleeding Black Noise, is a revision of Steven Parrino’s statement, “My relation between Rock and visual art: I will bleed for you.” Here the editor replaces Rock with Noise, and celebrates the Bleeding as a release of the Black Noise—raw energy and formless potential. The enclosed textual essays and visual portfolios discuss and experimentally demonstrate sonic and conceptual feedback, as well as the way that black noise works through feedback as a process, resonating as background hums or drones, and cascading in foregrounded screams.

[distinktionsfetzen]

Check out Steven Parrino, Untitled (2003), From Loevenbruck

[paintedout]

Steven Parrino

[hornworts]

Steven Parrino, Spin-Out Vortex, 2000, enamel on canvas, 72 × 72 × 7 5/8 in