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Robert Barry
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christo and jeanne-claude . running fence . sonoma and marin counties california . 1972-76. photo: wolfgang volz © 1976 christo
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by chennyjoi
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Cy Twombly, Natural History, Part 1, Mushrooms, (1974)
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Tomás Saraceno, Solar Bell L 2013
from DOMUS
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Bruno Munari: Making the air visible, using strips of paper as a learning device, 1969.
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Aneta Pajack by Ben Weller in “Pretty Simple” for WSJ Magazine, April 2015
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Charles Gaines
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Venice Notebook, etching
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fwek:
Collaboration Thomas Lohr & Hanna Putz for DUST Magazine
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pattern on the ground
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Erwin Blumenfeld
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Mikola Gnisyuk, People in Trees (The Rooks Have Arrived)(Detail), 1964
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Marianne Dages, Via Huldra Press Blog
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Josef Strau at House of Gaga
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Persona, 1966-Ingmar Bergman
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In ogni stanza c’è il fantasmo del sesso, 1973
Sottass chose to disassociate himself entirely from the machinations of corporate industrial design by presenting a series of wistful black and white photographs showing makeshift design interventions embedded in desolate natural landscapes. Drawing on the emergence of the broader political discourse around anthropology and material culture, which appropriated the Other (the peasant, the indigenous maker, the amateur, the vernacular, and so on) as a foil against the alienation of a mass capitalist consumer society, Sottsass cast himself as a type of conceptual folklorist. Handwritten titles hurriedly scrawled above and below the images resemble field notations on objects happened upon in an otherwise unchartered landscape of meadows and mountains.
The Italian Avant-Garde Vol. 1 1968 - 1976
(In every room there is the ghost of sex)
Ettore Sottsass
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Nikos Economopoulos
Hadhramawt Valley. Women screening wheat. Yemen, 1992 -
Vulcano
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Robert Barry
