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Gunnar Smoliansky,Saltsjö-Boo, Sweden, 1976 (via whileatsea))
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albino Redwood in Big Sur
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on, and on, and on, and on, and on, and on, and on, and
2014
steel, dimensions variable
Robert Anthony O’Halloran
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Cy Twombly.
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stayingstrong.
(by Sasha Kurmaz)
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unexpectedness.
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ph. Lina Scheynius
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Csilla Klenyánszki
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Huddle
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at Guelph Arboretum
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The first page of John Cage’s 4’33”
“On a warm summer evening in August 1952 pianist David Tudor approached a piano on stage at the Maverick Concert Hall in Woodstock, New York. Stopwatch in hand, Tudor sat before the piano and, without striking a note, premiered John Cage’s composition 4’33”.
Commonly known as Cage’s ‘silent’ piece, 4’33” comprises three movements during which a performer—or performers—are instructed to produce no intentional sounds for four minutes and 33 seconds. This radical gesture upended the conventional structure of music, shifting attention from the performer to the audience, and allowing for endless possibilities of ambient sounds to fill the space.
When discussing the work over his lifetime, Cage emphasized that, rather than intending to simply shock his audience, he hoped to attune listeners to silence as a structure within musical notation.”
View works from the MoMA exhibit There Will Never Be Silence: Scoring John Cage’s 4’33” here.
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December Moonrise, Charles Burchfield
1959
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Walk through a line of neon lights (2005), Michel François
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.”
