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likeafieldmouse:

Nicolas Poillot
allofitishangingout:

test_print

letitallhangout.ca
nicecollection:

Dan Flavin - icon V (Coran’s Broadway Flesh), 1962, Oil on cold gesso on Masonite, porcelain receptacles, pull chains, and clear incandescent “candle” bulbs. 31 5/8 x 31 5/8 x 9 7/8 inches (80.5 x 80.5 x 25.1 cm) including fixtures and lamps
smalljoke:

by joeearleyjournal
seenandmade:

Zine that was published for the occasion of ‘Thought…Process’ with Malin and I at Good Press in Glasgow.

Thanks againandagainandagain Good Press.
lafilleblanc:

Michail Pirellis

Tresor, 2013

aluminium, titan, lacquer
smalljoke:

by fletcherchancey
etceterablog:

Gerhard Richter
Abdallah, 2010
Enamel on back of glass
32 cm x 32 cm
1109-83:

John Baldessari, Cal Arts Post Studio Art: Class Assignments (optional), 1970
heathwest:

Joe Reihsen
Time Traveler, 2013
Acrylic on panel, aluminum frame
25 x 20 in.
smalljoke:

by maryannecasasanta
vuls:

endpapers from World Beneath the Sea, National Geographic Society, 1967
ritualistics:

Stephen J Shanabrook’s “Paper Surgeries” for Comme des Garçons
likeafieldmouse:

Maurizio Cattelan - Exhausted (1993)
blastedheath:

Franz Gertsch (Swiss, b. 1930), Rüschegg I, 1988-89. Woodcut on Japan paper, plate: 234 x 181 cm., sheet: 276 x 217 cm.
hifas:

Abbracci
Giorgio Di Salvo
1910-again:

Etienne-Léopold Trouvelot, Direct Photograph of the Electric Spark, Negative Pole1888
xhezzi:

“to change art destroy ego” by ben vautier
wowgreat:

Brian Sensebe
sapta-loka:

Shades of Swagger # 86 | Undercover, Man in Niger. Photo by Georg Gerster for National Geographic, 1979
cinoh:

Coverlet Fragment, 1830s

Medium: wool, cotton Technique: plain weave with supplementary weft patterning (overshot). 1953-114-7.
nakedgeometry:

Islamic geometric pattern draft, c. 1840
northmagneticpole:

Nowhereland-Clay Lipsky
free-parking:

Francis Alÿs — When Faith Moves Mountains, 2002

Starting from the idea of providing an “epic response, at once futile and heroic, absurd and urgent” to the bad Peruvian economic situation, Francis Alÿs asked 500 volunteers to dig and move the sand of an almost 200 meters wide dune in Ventanilla, an area near Lima, where nearly seventy thousand people are living in huts. The purpose of the action is to move the dune by approximately ten centimetres from its original position, forming a long line at its foot and using only shovels.

As Alÿs often puts it, his intention was to create a “social allegory”. The coral act of these people is a metaphor for the potentialities of a participative action taking on even mythical and religious features in its confronting the monumentality of nature, altered by human intervention. The greatness and the spectacularity of the project testifies how people when united can achieve things that would be unthinkable and impossible for the single individual, letting the power of collectivity emerge. (via)