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  lafilleblanc:

  Michail Pirellis

  Tresor, 2013

  aluminium, titan, lacquer

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  smalljoke:

  by fletcherchancey

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  etceterablog:

  Gerhard Richter
  Abdallah, 2010
  Enamel on back of glass
  32 cm x 32 cm

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  1109-83:

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

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  heathwest:

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

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  smalljoke:

  by maryannecasasanta

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  vuls:

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

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  ritualistics:

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

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  likeafieldmouse:

  Maurizio Cattelan - Exhausted (1993)

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  blastedheath:

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

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  hifas:

  Abbracci
  Giorgio Di Salvo

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  1910-again:

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

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  xhezzi:

  “to change art destroy ego” by ben vautier

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  wowgreat:

  Brian Sensebe

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  sapta-loka:

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

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  cinoh:

  Coverlet Fragment, 1830s

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

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  nakedgeometry:

  Islamic geometric pattern draft, c. 1840

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  northmagneticpole:

  Nowhereland-Clay Lipsky

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  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)

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  sapta-loka:

  Richard Pettibone - Frank Stella, “Valparaiso Green”, 1963, 1966

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  regardintemporel:

  Reinhoud (1928-2007)

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  omgitstriciac:

  (via Pin by Tricia on Paper | Pinterest)

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  blushingcheekymonkey:

  oskar schlemmer

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  aubreylstallard:

  Jean Arp, Yeux, nez, moustache, 1928

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  aubreylstallard:

  Sonia Delaunay