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max benjamin johnson

@maxybenjamin

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la 🌞 ♉️ 🌈
co-founder @aweinspired

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🐎 in the bacc 🐎 taken in The Wild West by @maxybenjamin

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three flags ~ jasper johns ~ 1968
what do you see when you look at The Flag?
unity?
authority?
independence?
oppression?
freedom?
control?
home?
prison? taken in Whitney Museum of American Art by @maxybenjamin

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[cow]boys don’t cry 💔 taken in Cowboy Up Saloon by @maxybenjamin

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beatlemania in sydney ~ frank burke ~ 1964 taken in Sydney Airport by @maxybenjamin

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🎸 for one night only 🎸 taken in Roxy Theatre (New York City) by @maxybenjamin

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maxy mania!!!!!! taken in Abbey Road by @maxybenjamin

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🚀welcome to the space jam 🚀 taken in Infinity and Beyond by @maxybenjamin

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11 dimensional sophons taken in Astroworld by @maxybenjamin

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👽beam me up👽 taken in Out Of This World by @maxybenjamin

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deep in the great unknown taken in The Wilderness by @maxybenjamin

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⛰ oh the places you’ll go ⛰ taken in Blue Ridge Mountains by @maxybenjamin

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chaussée boiseuse ~ jean dubuffet ~ 1959 “Jean Dubuffet’s work is marked by a rebellious attitude toward prevailing notions of high culture, beauty, and good taste. Though he was an academically trained painter from a bourgeois family, Dubuffet maintained what he called in a 1951 lecture an “anticultural position.” He advocated for “instinct, passion, mood, violence, madness” rather than analysis and reason, as well as closer proximity to nature and natural forms and the discarding of traditional notions of beauty. “Look at what lies at your feet!” he once said. “A crack in the ground, sparkling gravel, a tuft of grass, some crushed debris offer equally worthy subjects for your applause and admiration.” Such values were embodied in what Dubuffet termed art brut (or “raw art”), produced on the margins by children, outsider and folk artists, and the mentally ill.
In the studio, Dubuffet was a relentless innovator [EXPLORER] experimenting with unorthodox tools and materials by mixing gravel into his paints; making impressions from foliage, orange peels, and tapioca; or covering canvases with tin foil, as in Soul of the Underground. He worked fluidly between mediums, with his trials in painting informing his radical work in the print shop, where he attacked lithographic stones with sandpaper, flaming rags, and chemicals.” taken in Palais de Tokyo by @maxybenjamin

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