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Kehinde Wiley, Venus Anadyomé (The World Stage: Haiti), 2014. Oil on linen. 36x28 Inches
Kehinde Wiley, Venus Anadyomé (The World Stage: Haiti), 2014. Oil on linen. 36x28 Inches

A Few of My Favor-art Things

Here are a few pieces that we dig, from our current digs

Neil Patrick Harris is the Founder and Editor-in-Chief of Wondercade. In his spare time he also acts — fairly well, too, as his Tony and Emmy Awards can attest.

March 29, 2023 3:51 pm

Robert Longo, Study For White Dragon, 2004. Ink and charcoal on vellum. 16 1/2 x 16 in.

This is the first piece we invested in, to start our collection. It’s a smaller charcoal drawing by Robert Longo, an accomplished artist who usually does much, much larger works. It’s called a “study,” a way for the artist to get inside the image before committing to a large scale. I find the motion of the wave hypnotic, threatening yet inviting.

Kehinde Wiley, Venus Anadyomé (The World Stage: Haiti), 2014. Oil on linen. 36×28 Inches

Kehinde is a true master, a living artist already in history books, and we are so grateful to have a piece in our collection. This is from a series he painted in Haiti, using beauty pageant contestants in classic, old world poses. She’s gorgeous. The detail is phenomenal, it’s photorealistic. I’m in awe.

Joshua Flint. Untitled, 2016.
Joshua Flint. Untitled, 2016. Acrylic oil on canvas.

I found out about Josh via Instagram. His handle is @studioflint. His stuff is amazing — and affordable. This is a piece I commissioned myself, working with him on the concept.

Gideon Rubin, White Bench, 2007.
Gideon Rubin, White Bench, 2007. Oil on linen. 76 x 71 cm.

There’s something cool about this piece by Gideon Rubin; I can’t determine its tone. Sometimes it feel melancholy, other times it seems calming. Interesting what no facial features will accomplish. We also loved the painter’s name, so we gave it to our son.

Tom Laduke. Relayer, 2011.
Tom Laduke. Relayer, 2011. Oil and acrylic on canvas over panel. 60 x 80 in.

I’m just blown away by how Tom LaDuke can make these massive paintings that seem initially complicated, but then once dissected, everything comes into focus. He layers on multiple images — this is a reflection of his actual studio, a still image of a movie (here, Donnie Darko), and then over THAT, he’s painted an abstract yet highly detailed version of an 1864 painting by Edouard Manet (The Dead Toreador). There’s a ton to unpack with this piece, and frankly everything Tom does is equally ingenious. He’s next level.

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