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“La Femme Publique” , 1984
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So Is This (1982) by Michael Snow
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Camille Henrot new frescoes for Fondazione Memmo, 2016.
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Wolfgang Tillmans
dancer, OperaHouse, 1989
Chromogenic print
16 × 12 in
40.6 × 30.5 cm -
Oyster Mushrooms
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ISAMU NOGUCHI in California
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River of Grass, 1994
dir. Kelly Reichardt
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Sandra Davolio Ceramics
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me in my next life
“one stormy night my girlfriend saw what we thought was a dead sparrow below our balcony. he was barely breathing, covered in ants and completely blind.
“we brought him home and put him in a box. after spending a night in our bedroom, he woke us up with high pitched tweeting. we tried feeding him, but without any luck, so we placed him on our balcony. he continued tweeting non stop for three hours.
“finally, his father found him and started feeding him. he brought his chick huge bugs and bread every 10-15 minutes all day long for two weeks straight.
“he was getting bigger every day, but he was still blind. i called a vet, and he told me to try simple eye drops. it worked like a charm! he even started hiding from us behind our flowers. soon, his father started showing him how to fly trough the window.
“one day he just left – we knew this day would come eventually. we became really worried because that same night, and for the next few days, there was really stormy weather. however, three days later, he came back and fell asleep in one of our pots.”
(source)
This makes me want to cry
[Top] “Museum staff packing Pablo Picasso’s “Guernica” (1937) for shipment to Spain. Photo taken on September 8, 1981 by Mali Olatunji.” (flickr)
[Bottom] “The ‘Guernica’ arrival at the Cason del Buen Retiro in Madrid in 1981″ (abc.es)
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Backstage at Creatures of the Wind Fall 2016
Photo by Isabel Martinez.
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Jared Ginsburg
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Isamu Noguchi, Magic RIng, 1970, red Persian travertine
Photo by Kevin Noble
The Noguchi Museum
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Agnes Martin
Untitled #10
1975 -
Evan Holloway
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Mushroom lady by tinycactus http://ift.tt/1N7JKJa
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The Marriage of Maria Braun, Rainer Werner Fassbinder, 1979
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I Love the Whole World, 1999-Agnes Martin
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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
