Those faces.

Those faces.

Blue Palace beach, Elounda, Crete, Greece

Blue Palace beach, Elounda, Crete, Greece

Fjord boat stop, Leikanger, Norway

Fjord boat stop, Leikanger, Norway

Graffiti wall outside of Christiania, Copenhagen, Denmark

Graffiti wall outside of Christiania, Copenhagen, Denmark

Hotel Olcott, Upper West Side, Manhattan, NYC

Hotel Olcott, Upper West Side, Manhattan, NYC

La Alhambra, Granada, Spain

La Alhambra, Granada, Spain

Blade Runner (Ridley Scott, 1982)

All I can hear is 2Pac’s “To Live and Die in L.A.”

All I can hear is 2Pac’s “To Live and Die in L.A.”

I want to go there.

I want to go there.

Jessica Lange

Jessica Lange

awesomepeoplehangingouttogether:

Jack White and Buzz Aldrin

Great concept for a blog.

awesomepeoplehangingouttogether:

Jack White and Buzz Aldrin

Great concept for a blog.

supersonicart:

Spoke Art’s “Quentin vs. Coens" Group Show.

Opening Saturday, July 5th at Spoke Art in San Francisco, California is the highly anticipated group show, “Quentin Vs. Coens,” an art tribute to the film masters Quentin Tarantino and the Coen Brothers.  Featuring over 60 artists from around the world the show is always a knock out of fantastic art as well as being a celebration of Pop Culture and the influence it has on this generation’s artists.  Above and below I’ve featured some of my favorites from this year, take a look!

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I would buy every one of these as a poster.

You’re gonna need a bigger boat by caseycallenderart

You’re gonna need a bigger boat by caseycallenderart

instagram:

@dalek2013 Brings a Splash of Color to the @_smoca

To see more photos of James’ vivid work, visit the Scottsdale Museum of Contemporary Art location page and follow @dalek2013.

“There is an impact to art in public spaces that can’t be achieved in studio work,” says the artist James Marshall (@dalek2013), who recently completed several massive, colorful murals for the Scottsdale Museum of Contemporary Art (@_smoca). “Murals allow me to explore ideas and processes that I couldn’t necessarily do in the studio. It’s very liberating.”

When approached by SMoCA, James sought to complement the building’s architecture: “For me filling the space was about working with the framework of what was already there,” he explains. “I wanted the artwork to accentuate the architectural aspects and the existing art in those spaces.”

For James, working at a large scale also has the benefit of informing his smaller paintings. “I think the openness of it brings a lot to me that I can then take back to the studio and incorporate into that work.”

Dope.