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Artscan Gallery
Rudolph Blume Fine Art / ArtScan Gallery
Rudolph Blume Fine Art / ArtScan Gallery
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New Exhibition "Irony and Ambiguity" March 7, 2015 - April 11, 2015
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Eating Paint
January 24, 2015-February 28, 2015
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Eating Paint
January 24, 2015-February 28, 2015

Houston, January 14, 2015 –Rudolph Blume Fine Art/ArtScan Gallery announces the opening of a new exhibit called “Eating Paint,” featuring five artists, including three with Houston-area roots. The title refers to a 1961 manifesto by Claes Oldenburg called “Ode to Possibilities” that argues for a visceral and exuberant way of art making, stating that “I am for an art…that spits and drips…that you can squeeze and kiss…which is eaten like a piece of pie…”

The artists in this exhibition share this sentiment and engage in a “muscular” style of painting charged with pictorial energy and visual opulence. In contemporary art, there has been a return to tactile and physical sensibilities as a reaction to the flat screen and the sterility of technology. As conceptual and digital works in a “post-Internet culture” have become all the rage, these artists have rediscovered the immediacy and serendipity of the act of painting.

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ULTRABLACK:  MARIO M. MULLER AND RANDY TWADDLE

Opening Date: Saturday, November 15 from 6:00 to 8:00pm
Closing Date: Saturday, January, 3
Gallery Hours: Wednesday through Saturday from 11:00am to 5:30pm.

Rudolph Blume Fine Art/ArtScan Gallery is pleased to announce the opening of a two-person exhibition titled, “Ultra Black” by Mario M. Muller and Randy Twaddle. The artists have known each other for a relatively brief time, but their artistic output over the past 30-plus years has carried on a continuous dialogue. 
Muller is an artist, writer and curator who lives and works in Los Angeles. He has exhibited extensively nationally and internationally, and his paintings are held in major collections and museums. Among his many endeavors, he edits a witty art blog called “TruffleHunting.” 
Twaddle has lived and worked in Houston for 25 years. He is well known for his iconic drawings of transformers and power lines that are ubiquitous in the urban landscape. Twaddle’s work is widely exhibited, and is included in many private, museum and corporate collections.
 Few artists have subjected themselves to the discipline and formal economy of using just black and white as their elemental colors of expression. Muller using India ink and Twaddle using Charcoal, Gouache and Watercolor have done just that. They relentlessly explore the reductive complexities of monochromatic icons.
Muller’s subject is light and the absence of light. The things we know are reduced to silhouetted form and blinding light. Urban architecture and a mobile citizenry populate some of his oeuvre and become visual ciphers for life in “Metropolis.” Muller flirts with abstraction while never leaving the viewer stranded in regard to his view of reality and seeing the familiar in a new way.
 In Twaddle’s series “Reversal Drawings,” he employs well known phrases that are altered as to no longer be instantly recognizable. Their meaning is hidden in the shadows of a complex chiaroscuro, ready to be newly examined for their poetic or even ironic potential.
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