Tumblr Image Viewer
-
LOVE causes LOVE @bagni_paloma #bagnipalomastyle #bagnipaloma #today #torino #shopping #instacool #instaphoto #instapic #instamood #cool #instamood #todaymood #today #photooftheday #picoftheday #multilabelstore #goodmorning #love #cute (presso Bagni Paloma)
-
Saitsuki sea" No. 10 - Yuji Tezuka
Japanese b.1953-
-
Louise Bourgeois: Ode a l’oubli
-
barbara hepworth · single form
-
Cuba, 1993, Rene Burri.
-
Carla Fernández Spring/Summer 2012
-
Ellsworth Kelly.
-
Jane Cornwell.
-
How To Knoll, from Tom Sachs.
JABAL MARRA, SUDAN
-
Me in Sweden Summer 2014
-
Robert Irwin
-
-
Sasa Stucin
-
Sam Francis.
-
Alba in London Spring 2014
POST-SCRIPTUM 450
From 1975 to 1979, London improvisors published the most innovative artists and musicians of their generation in the magazine Musics. Derek Bailey, Evan Parker, John Zorn, David Toop, John Russell, The Feminist Improvising Group, Bob Cobbing, ICP, Val Wilmer, Annabel Nicholson, Han Bennick, Eddie Prevost, David Cunningham, Steve Beresford among many others were contributors.
…a blueprint for the interlinked activities we now call sound art, field recording, improv, live electronics & audio culture. it came out six times a year and ran for twenty-three gorgeous issues. the journal covered improvised and non-western music alongside performance art, reflecting the broad interests of the so-called “second generation” of London’s improvisers, and provided a convivial focus point. overlapping with London musicians’ collective (LMC), the publication first launched in Spring of 1975, with the tagline: an impromental experivisation arts magazine and a manifesto that proposed the destruction of artificial boundaries, and linked Free Jazz, the works of John Cage, and indigenous and non-European music….
-
-
Edward Corbett.
-
-
Edgar Degas, “Autumn Landscape (L’Estérel)” (1890), monotype in oil on paper, plate: 11 7/8 x 15 5/8 inches
-
Easy by jessireaves http://ift.tt/1R1vcuc
-
Ursula K. Le Guin, The Dispossessed
“The woods gal, that’s what they called me.” Emma Dupree, 1898-1996. Photos by Mary Anne McDonald.
Emma Dupree was a respected herbal healer in Pitt County, North Carolina: “From the time she could walk, Emma felt drawn to the land. She would roam the woods, plucking, sniffing, tasting weeds. She grew up that way, collecting the leaves, stems, roots, and bark of sweet gum, white mint, mullein, sassafras in her coattail or a tin bucket. She’d tote them back to the farm, rinse them in well water and tie them in bunches to dry. In the backyard, she’d raise a fire under a kettle and boil her herbs to a bubbly froth, then pour it up in brown-necked stone jugs: a white-mint potion for poor circulation; catnip tea for babies with colic; tansy tea - hot or cold - for low blood sugar; mullein tea for a stomach ache …” — Paige Williams
-
-
A blue belt made by Caren.
-
luis barragan house with painting by albers
-
Sol LeWitt
Instructions for Straight Lines in Four Directions and All their Possible Combinations
1973
273 x 270 mm -
Antonio Canova gallery extension (1957) — Carlo Scarpa
Possagno, Italy.
Sophie Calle, Take Care of Yourself, Venice Bienalle, 2007
When Sophie Calle’s lover dumped her several years ago, she decided to re-send the letter that ended the affair to 107 different women. Among the readers were a judge, a rapper, a psychoanalyst, a novelist and a family therapist. Their written responses are the starting point for Take Care of Yourself (2007), the central piece in this eponymous comprehensive exhibition of Calle’s work at Lillehammer Kunstmuseum. Eighty-eight analyses of that break-up letter are presented here – hung on the wall or, in some cases, displayed on large tables in the centre of the room. All of the readings are accompanied by a stylized photograph of the interpreter involved in the act of reading the letter in question. But not all of them write; some respond through dance, recital or song, and these performative readings are presented in a multi-screen video collage on the wall.
The original letter, which ends with the words ‘Take care of yourself’, reveals the thoughts of a man who is unable to be faithful. While his missive was obviously a form of rejection disguised as compassion, it was also an order to do something – to accept failure. But instead of limiting the reading of the letter to closure, Calle insists on using it as a connective tissue for solidarity among women. She converts it into a collective object, a conversation piece, enacted and read publicly by a multitude of strong women – all of whom skilfully translate the letter into their specific field of knowledge. With the exception of a parrot repeating ‘Take care of yourself,’ the respondents are all authorities in their respective disciplines. The only weakness in the work lies here: where is the anonymous, everyday woman, who would surely have something to say as well? In any case, the expanded act of reading rewrites the coordinates of failure. What was at first limiting and destructive, through this joint effort produces a library of responses with an almost encyclopaedic versatility: viewers can reference this library to redefine other kinds of apparent rejection or failure. In this sense Take Care of Yourself is a generous, humanist and even an emancipatory work. (Frieze Magazine)
