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  aroseisaroseisarose:

  Unpacking Mona Lisa at the end of World War II (1945)

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  creaturesofcomfort:

  Parko Calendar

  DominiqueIssermann

  Japan, 1985

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  breeapperley:

  Something Between Want and Desire: Janfamily: Plans for Other Days

  via jacindarussellart.blogspot.ca

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  vltracon:

  Carson Fisk Vittori

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  gacougnol:

  Josef Breitenbach
  Untitled
  1940’s

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  howtomakemoderndance:

  Merge

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  grupaok:

  Nancy Holt, drawing for positioning holes in the Columbia constellation for Sun Tunnels, 1975

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  longhairshorttemper:

  Sarah Hinckley

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  gacougnol:

  Carol JERREMS
  E
  from the Alphabet folio (1968)
  dated 1969

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  ¯\_(ツ)_/¯

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  invisiblestories:

  Gunnar Smoliansky,Saltsjö-Boo, Sweden, 1976 (via whileatsea))

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  strangefires:

  albino Redwood in Big Sur

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  robertanthonyohalloran:

  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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  jjunymuustardd:

  Cy Twombly.

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  04-ever:

  stayingstrong.

  (by Sasha Kurmaz)

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  04-ever:

  unexpectedness. 

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  opaqueglitter:

  ph. Lina Scheynius

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  jennilee:

  Csilla Klenyánszki

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  howtomakemoderndance:

  Huddle

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  at Guelph Arboretum

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  likeafieldmouse:

  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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  dappledwithshadow:

  December Moonrise, Charles Burchfield

  1959

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  sirilaf:

  Walk through a line of neon lights (2005), Michel François

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  thinkingimages:

  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.

  The Demarco Archives - University of Dundee