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“In surfaces, perfection is less interesting. For instance, a page with a poem on it is less attractive than a page with a poem on it and some tea stains. Because the tea stains add a bit of history. It’s a historical attitude. After all, texts of ancient Greeks come to us in wreckage and I admire that, the combination of layers of time that you have when looking at a papyrus that was produced in the third century BC and then copied and then wrapped around a mummy for a couple hundred years and then discovered and put in a museum and pieced together by nine different gentlemen and put back in the museum and brought out again and photographed and put in a book. All those layers add up to more and more life. You can approximate that in your own life. Stains on clothing.”
“I guess I’ve never felt entirely female, but then probably lots of people don’t. But I think that at different times in my life I located myself in different places on the gender spectrum, and for many years, throughout my thirties which is when I did that pilgrimage, I didn’t have any connection to the female gender. I wouldn’t say I exactly felt like a man, but when you’re talking about yourself you only have these two options. There’s no word for the “floating” gender in which we would all like to rest. The neuter comes up in the unbearable poem, the neuter gender, but that doesn’t really capture it because you don’t feel neuter, you feel just wrong. Wrong vis-à-vis the gender you’re supposed to be in, wrong vis-à-vis the other one, and so what are you? Historically we use man for people of any gender because men win. So it’s useful to do that when cornered.”
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Zoe Leonard, I want a president, 1992
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Soft Thinking in Tall Places, 2015-Isabel Nolan
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Grace Jones in Issey Miyake from the great fashion book of 1978, East Meets West.
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Clyfford Still, Untitled, 1964. Oil on canvas
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Koto Bolofo
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“ sin titulo” ©Eduardo Seco
Elliott Erwitt - Cannes, Alpes-Maritimes, (Diptyque), 1975.
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Josef Albers (German-American, 1888-1976), Study for Homage to the Square: Whisper, 1963. Oil on Masonite, 24 x 24 in.
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Struck by the abstract nature of absence; yet it’s so painful, lacerating. Which allows me to understand abstraction somewhat better: it is absence and pain, the pain of absence—perhaps therefore love?
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Alfred Eisenstaedt, 1941
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2yup:
LUI SHTINI
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The Circus | Charles Chaplin | 1928
Charlie Chaplin
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A morning snack.
Kerstin and Sally, Pawnee Grassland, Colorado, 1986 (top)
Sally, Pawnee National Grassland, Colorado, 1983 (bottom)
—Photos by Robert Adams
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Internet Archive Book Images
Image from page 310 of “Die forstinsekten Mitteleuropas. Ein lehr- und handbuch” (1914)
https://www.flickr.com/photos/internetarchivebookimages -
Toronto Water Treatment Plant
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McLaughlin Planetarium
Whatever happened to Science?
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Richard Long (British, b. 1945), Mississippi Mud, 1991. Mississippi river mud on hand-made paper, 149.1 x 95.3 cm.
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Rosemary Vanns, Yellow Jug and Fruit mix media 50 x 50 cm
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Robert Rauschenberg
image noise, photographed / not photographed by soho, 14th june 2015.
35 frames, photographed over 7.5 hours, with the subject of the images removed as much as possible; some traces of the background stars remain, however. near centre, elnath (beta tauri) is somewhat visible as a crescent. most of the noise is from charged particles hitting the image detector.
image credit: nasa/soho. animation: ageofdestruction.
Conservation Notes: Looking at ephemera in Betty Goodwin’s notebooks
