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23 August - 12 September 1970. Stefan Wewerka’s installation for Strategy: Get Arts (contemporary art from Dusseldorf) presented at Edinburgh College of Art by the RDG in association with Kunsthalle Dusseldorf, for the Edinburgh International Festival. Photograph by George Oliver.
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Donald Baechler
Flowers, 1993
Screenprint on paper -
Agnes Martin’s last drawing (2004)
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Cy Twombly
Untitled
1955 -
Milan Knížák, Lying Down Ceremony, 17 December 1968
‘‘Everybody is lying on the floor with a kerchief on their eyes. For a long time.”
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Mystery Bone by Bolmeister on Flickr.
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A still from the film, Young Aphrodites (1963) Directed by, Nikos Koundouros.
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Henri Cartier-Bresson, Pause entre deux poses, 1989
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A series of 11th-century crystal chess pieces from the Museo da Catedral in Ourense, Spain, which have never before left the cathedral;
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valentine schlegel (c. 1955)
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Invitation, The New Conversations 1: La chaîne est belle (The Chain is Beautiful), front side
Joseph Beuys: “If I take care of you, others will take care of me.”
Stanislav Menshikov: “If I take less, others have more.” 
Joseph Beuys and Buckminster Fuller Meet in Plein Sud’s …
Joseph Beuys and Buckminster Fuller might seem strange bedfellows. Yet the paths of these two influential figures—Beuys, the storied leader of a Fluxus-inspired social revolution in art-making; Fuller, the enigmatic architect and dreamer of a new humanist world view—did overlap in 1974 at Edinburgh’s Royal Botanical Gardens.
Now, they meet again in Robert Duchesnay’s exhibition “Le Studio et l’Anti-Studio de Joseph Beuys et Buckminster Fuller,” which closes this week at Plein Sud in Longueuil.
Ground zero for Duchesnay’s connection of the two is 1984. In October of that year, Duchesnay had arranged a meeting with Beuys in his Düsseldorf Academy of Art studio that, as it turned out, went awry when he arrived to find that Beuys had cancelled due to illness. Still, Duchesnay was granted permission to photograph the artist’s empty studio, resulting in a fascinating series of images that reveal the inner workings and variable inspirations—including Elvis Presley—of a visionary mind. As the exhibition catalogue explains, these photos “stand as the most extensive visual documentation of the studio in existence.”
Richard Demarco photograph/archives. 7 May 1970. Joseph Beuys with white horse on farm land near Edinburgh airport, shortly after his arrival in Scotland.
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Mitzi Pederson.
Anselm Kiefer, Heroic Symbols 1969Tate and National Galleries of Scotland. http://www.tate.org.uk/art/work/AR01174
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August 1970. Blinky Palermo making his wall painting Blue/Yellow/White/Red, for Strategy: Get Arts (Contemporary Art from Dusseldorf, presented at Edinburgh College of Art by the RDG in association with Kunsthalle Dusseldorf, for the Edinburgh International Festival).
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Hand woven blanket (back).
Wool and tussar silk.
India.
December 2014. 
Steven Claydon
Black and Speckled, 2014
perforated offset litho print
7.5 x 7.5”
Edition of 100
(Below: David Shrigley, Strive for Excellence, 2013, and Mungo Thomson, Negative Space (STScl-PRC1999-14d), 2013)
Still thinking about this excellent series of limited edition prints at NADA, each on what is typically used to distribute LSD - acid free perforated blotter paper, a series conceived of and curated by Rob Tufnell.-
Babette Mangolte, Lucinda Childs in Solo of Dance, composite, 1978-2010
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Claudia Wieser
Untitled, 2014 -
Anne FERRAN by Monash Gallery of Art on Flickr.
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The missing stones
1989
John Cage
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Red Pool by zeno_shogun on Flickr.
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Cy Twombly, Poems to the Sea, suite of 24 drawings, 1959
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