Russell Webner

October 27, 2010 • 3:07 pm 0

NEW PAINTINGS

here are some new images of paintings I’ve made in the summer and thus far in the fall. I dropped my camera in Vietnam and it seems to not work very well any more. The image quality isnt acceptable, but hey, what the hell. I’ll try to get some better images later.

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April 22, 2010 • 12:24 am 0

three new paintings

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April 20, 2010 • 12:28 am 0

CMH

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March 3, 2010 • 5:07 pm 0

Artist of the Week

I was recently lucky enough to win “Artist of the Week” honors in Vassar’s Miscellany News.

Ch-ch-ch-check it out

http://www.miscellanynews.com/2.1579/webner-finds-inspiration-across-varied-disciplines-1.2167714

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March 3, 2010 • 1:05 am 0

Back again

In a show this week with fellow student artists at Vassar: Rhys Bambrick, Joseph Redwood Martinez, and Charlie Warren. Here’s a link to some pictures from the show http://blogs.miscellanynews.com/exposure/2010/03/01/this-the-range-and-the-recent-reception/.

Here is a picture from the show with me and one of my paintings.

Here are some of the previous photos of that painting, which some people have called ‘the computer.’

and then it rests now as it is in the picture with me.

This is another nice picture. I cut my hand printmaking and had to wear a bandaid while painting…

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July 19, 2009 • 5:15 pm 0

Font Driving, Car Writing

iQ font – When driving becomes writing / Full making of from wireless on Vimeo.

This is a gnarly video I found online. The actual process is a lot cooler than the product, in my opinion. However you cant fault the creativity, and it would be pretty fun to be that driver

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June 29, 2009 • 10:09 am 1

Gerhard Richter

http://www.guardian.co.uk/artanddesign/video/2009/mar/11/gerhard-richter-portraits

It’s been a long time since I’ve made a new post, however for a painter like Gerhard Richter, it’s worth it to come out of my summer hibernation — or to head to the pool an hour later after typing this.
In an age where realism is confined mostly to art classes and kept definitively out of contemporary ‘fine’ art, Gerhard Richter seizes on the quality/quantity push-pull of photographs by copying them through painting. Why? Because photographs are unique to our modern age, where technology enables us to instantly create perfect visual recreations of our loved ones, beautiful landscapes, gawked-at strangers, or anything else. I would guess that Gerhard Richter would say this process is too easy. Through his paintings of photographs, Richter attempts to seize the distinctly modern (and I would say negative) manner of the photograph as an object to be cherished and disseminated, rather than a mere image: as opposed to mediums that are more personal and subjectively accurate. I think much of the charm of Richter’s work is that no matter the individuals in his paintings of photographs, you have seen one that looks just like it (just paste on faces of your grandparents, aunt or brother).
The visual phenomenon of the new millenium are Richter’s preferred subject matter. Whether probing the psychological implications of photographs or the development of visual and technological techniques — see pictured image — , Gerhard Richter takes a very important place in the modern art world because instead of dealing with nebulous subjects of ethereal or conceptual nature, his works confront the advancements of our new age and their effect on everyone of us.