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sqncs:

Amsterdam/Antwerpen, 2013. on Flickr.

And another one…
miyaando:

Miya Ando
Gekkou (月光 “Moonlight”)
Silver Leaf, Pigment on Arches
41x29 inches
2014
New Works on Paper
www.miyaando.com
For upcoming London solo exhibition, May 2014
Mead Carney Gallery
made a new playlist featuring The United States of America, Marc Moulin, McDonald & Giles + more > unmarkedlandmarks.tumblr.com
lafilleblanc:

Ellsworth Kelly

Wright Curve, 1996
julianminima:

R.H. Quaytman
lostinpublications:

Speak Italian: The Fine Art of the Gesture by Bruno Munari
contemporaryartdaily:

Sharon Hayes at Andrea Rosen
magrittee:

Rene Magritte - The Talkative Jewels
nicoonmars:

GIANNI CARAVAGGIO
slowwwly:

Guy de Cointet
slowwwly:

guy de cointet
Made a new playlist featuring: The United States of America, Marc Moulin, McDonald & Giles and more. It’s hot. Right click to download this one and others.

xo

unmarkedlandmarks:
SUS
prefix: sus-

variant spelling of sub- before c, p, t (as in susceptible, suspend, sustain).

Where is Yesterday? - The United States of America
SUS - Marc Moulin
Kapua Pele Ea- Le Streghe
Satisfied - Barbara & Ernie
Savana - Piero Umiliani
Under the Sky** - Giles, Giles & Fripp
In The Hot Sun of a Christmas Day - Caetano Veloso
Lunar Invasion - The Silhouettes
Bolivia - Gato Barbieri
Draft Morning - The Byrds
Birdman Flies! - McDonald & Giles
silverscents:

Elle France 14 November 1988
nicoonmars:

Ariel Schlesinger

Side A on Side B
sfmoma:

SubmissionFriday:

Untitled, 2012, acrylic and sharpie on canvas

http://www.adamhillman.net/
orphanwork:

Victor Ershov. Monument (Who’s in there). From the series ‘Central Asia’, 1975
misterchu:

You can’t always make a song out of a photograph, I will with this one.
majorminorminormajor:

robert motherwell.
rudygodinez:

Aaron Hegert, Transition/Template for Transition, (2012)

-From the Artist Statement

Transition/Template for Transition, an ongoing project, is an attempt to actively explore the flux and shift of particular spaces from their intended uses, to the secondary, more devious, forms of use that are hidden in their utilization. I want to access a certain mode of “making” that is more akin to consumption than it is to production. To begin, I took an explicit example of clandestine spatial consumption, a concrete ramp (transition) illegally built by local skateboarders in a derelict business park, and the wooden template for that transition, found on site, as subject matter for my photographs. These objects, and the perception that preceded their becoming, act as a blunt edged metaphor for a more general inquiry into the practice of catalyzing a space that is characteristically vulnerable: a space that is vulnerable to multiple associations; to manipulation by users who are not its maker; to a push from what it is, to what you want it to be.

During the progression of the project, I have looked at these subjects both in and out of context, both as documents of, and models for, a critical spatial practice. And though I have integrated some environmental details and some experiments influenced by these observations, I have returned to the original transition and template repeatedly because of the simplicity of their formal and material qualities, and the complexity of the spatial and perceptual shifts they mobilize.
wwfk:

House Komazawa Park
mpdrolet:

Turkmenistan

Andrew Rowat
softpyramid:

Robert Rauschenberg
Earth Day
1970
collage and offset litho (300 signed, 10,000 unsigned)
Benefit print for the American Environment Foundation
jillsies:

Jacquemus Ice Cream T-Shirt at MNZ
duoyen:

Helen Frankenthaler at work, ph. by Ernst Haas (1969)
mentaltimetraveller:

Mark Barrow
likeafieldmouse:

Felix Schramm