In case you missed Part 1, and now onwards.
51. Sam Hayes – Reminding me of the Sharon Olds poem, The Pope’s Penis.
52. Unknown – Hula Hoop art. I have no objectivity. ROCKS!
53. Aga Ousseinov – This thing would have been interesting even if the globe had been round. But it’s square, like us. Inspiring form. Yaay.
54. Nick Cortese – When things fall apart we should always blame geometry.
55. Joe Howard – Oh, this is good. Especially diggin’ the raised paint and the tension between shape, color, and topography.
56. David Sherry – Didn’t like at first then I really liked. THEN I got the joke. Cock. Pussy. OMG. And then the 2nd piece: Officially on my list of interesting and smart arists not afraid of beauty and comedy. Wow.
58. Roland Allmeyer – Not digging the paint, but definitely digging the oil slick, which I guess means that I’m digging the painting. If you were wondering who was winning, the answer is here in all its inverted glory.
59. Jacob Cohen – If Wade Guyton had a baby with a Basquiat/Warhol collaboration this is what it would look like. This is a good thing, btw.
60. Elisabet Davids – Hard to photograph. Hidden heart. Lost, but not losing me.
61. Nelson Bradley – Oh, sad dumb America.
62. Andrew Graham – IMEZRU. I don’t get it, but looking at his website I want to.
63. Fatima Algadin/Khalid Algaraballi – Prince + Isahn = bitmap
64. Legacy Russell – Checkered past.
67. Kathryn Kerr – The big signature is cracking me up. And the black border. Actually, this whole painting is funny. It’s also good.
68. Rebecca Watson Horn – Oh. That is tricky. Proportions. This is one sly painting.
69. Rene Ricard – Not objective about the guy that wrote “The Radiant Child.” But it’s more fun to look at than the Schnabel at the center of the show.
70. Terry Richardson – The long bore.
71. Andy Meerow – Almost had me a couple times, but I never made the leap. Something though …
72. Theo Rosenblum – Weirdness not making up for brush skills.
74. E Hirsch – Yes. She is beautiful, and she is showing us her tit. That’s where it ends.
75. Lucia Vera – Must be an art school teacher.
76. Nick Gaetano – Oh, these are fabulous. Deep. Dark. Delicious. A winning trio.
77. Joshua Smith – Circles and a rectangle. To quote “Don’t get excited,” “Don’t get excited.” Although the placement helps things a bit.
78. Rico Gatson – Blow. (Smartass funnyboy comments aside: Just to be clear. I liked this.)
79. Unknown – Whatever. The traces of light are cool. But aren’t they always?
80. Unknown – This wins for purity and form. And making me happy.
81. Christine Rebet – You know what I really liked? The 3 bits of black tape floating near the top. Great touch.
82. Unknown – NORMAL DESIRES. The Cheerios commercial, slapped the fuck down. Yaay.
84. Unknown – Russian porn with Homeric puns. The Oddysee. The Illiad. What’s not to like about that?
85. Unknown – Little odd drawing. Goofy enough to live with. Or at least have in your office. I love this little monkey.
86. Anne Rowland – Sex in the ’burbs. Ouch.
87. Bryan Harrington – Black. Blossoming. Broken.
88. Unknown – Make fun of Julian Schnabel, the Johnny Fingers of painting, and I’m on your side. Creative Time’s Sarah Burkhart pointed out the double fantasy genius of this piece. The photo is taken from the NYTimes’ “A Night Out With…” The Bruce High Quality Foundation during the Miami art fairs last year.
89. Joao Enxuto – Wasn’t sure about this one until I looked through the camera lens. The perspective is kind of amazing. I kept looking in. It kept gently twisting my head.
90. Blaze Lamper – El High. (Sorry. Inside educational publishing industry joke.)
91. Unknown – Nice buckles. But too sketchy.
92. Charles Sabba – Funny but not very interesting. Sometimes funny’s just not enough.
93. Raina Hamner – This ghost is fucking me up. How did she do this? Floating in earthtones. Alive and kicking.
94. Eamon Monaghan – This is hilarious. And the paneling background adds to it.
95. Liz-N-Val – Decidedly NOT money.
96. Joe Kay – I like this more than I should.
97. Coco Dolle – Sometimes making it complicated makes it simple. Too simple.
98. Unknown – Big painting of woods. Not good.
99. Cecilia Jurado – Instant girls. Is that a tampon hanging off the “I”? Or is it a rabbit’s foot? Girls. Girls. Girls. This is, like, cold cold. And more than a little uncomfortable.
100. Nemo Librizzi – Jersey Shore. Or maybe Brighton Beach.
102. Max Snow – Well, alrighty, then. That video is downright scary. And the flag was done more effectively when Dave Phillips used the Nazi stars for his They Live album cover last year. Still not ho hum though.
103. Julian Schnabel – You’ll not hear me say this too often about a Schnabel painting, but … Love it. Simple. Direct. Neanderthal.
104. (illegible) Bahles – Duchampian comedy.
105. Unknown – Presbyterian box. Middle of the road.
106. Unknown – Why? Although this did answer the question regarding how many people will walk into suspended underpants if you hang them from a sculpture. (Answer: Everyone.)
107. Unknown – Sorry. I don’t get this stuff. I almost never get this stuff. It’s not you. It’s me.
108. Unknown – (Eggs. Nest.) Intimate, but not because of the whole nakedness thing.
110. Kathy Garcia – Speaking of openings. Here are some really nicely drawn ones. HELLO!
A new study details the creation of a hyper-flexible material inspired by an unexpected source: the humble sea cucumber.
The extensive exhibition confronts the Netherlands’s often-forgotten colonialist legacy.
The 1,600-year-old fragment was part of a dodecahedron, a mysterious object that experts believe may have been linked to the occult.
The Renaissance work by Francesco Salviati is the museum’s first painting on marble.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Who tells a tale adds a tail: Latin America and contemporary art explores contemporary Latin American art without conforming to external expectations.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
Twitter’s curbing of free API access could affect accounts posting from museum collections or the archives of long-gone artists.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?