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Theo van Doesburg, Composition en dissonances, 1918.
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Two dissected reindeer eyes, showing the tapetum lucidum. The left one comes form an animal killed in winter; the right one, in summer. The bit that actually changes colour is the tapetum lucidum or “cat’s eye”—a mirrored layer that sits behind the retina. It helps animals to see in dim conditions by reflecting any light that passes through the retina back onto it. In dark conditions, muscles in your irises contract to dilate your pupils and allow more light into your eyes. When it’s bright again, the irises widen and the pupils shrink. The same thing happens in reindeer, but the interminable Arctic winter forces their pupils dilate for months rather than hours.
Photo credit: Glen Jeffrey
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George Kershaw
Valentine (Blue and White Vase with Flowers)
1850
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oscillationindigo: margaret de patta, 1948
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richard long: berlin circle via no penny for them
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Richard Anuszkiewicz
1960
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From Life on Water: Bangladesh Flood
Rasel Chowdhury
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Jasper and Cumberland, Philadelphia, PA
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primitivefeathers: Nathalie du Pasquier
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mudwerks: cactus3 (by mydarlingdinosaur)
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Matthew Craven
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Maryanne Casasanta makes the best mixes ever.
click HERE to take a listen
click HERE to check out her work, which is equally impeccable
too kind Chris, too kind
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Lucio Fontana
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1. Wolfgang Tillmans Moon & John Maus
A Collection of Rarities and Previously Unreleased Material
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Masonic Triangle, Circa Early 1800s
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Top, photograph by Ad Nuis, City view of Baku with a tear through the Azerbeijan National Bank, from the project Oil & Paradise, 2013. Via. Bottom, screen capture from Martha, directed by Rainer Werner Fassbinder, 1974. Via.
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Tomorrow I will write you again, in our foreign language. I won’t remember a word of it and in September, without my having even seen it again, you will burn, you will burn it, it has to be you.
Jacques Derrida, Cinders, 1991. Via.
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Textile, “Rail”, introduced 1962. Anni Albers. Gift of Richard and Trudy Schultz. 2011-25-1. - See more at: http://www.cooperhewitt.org/object-of-the-day/2013/11/04/casements-more-structural-interest#sthash.Xxm1Zcza.dpuf
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Francisco de Goya
Jason Lazarus - Heinecken Studies (2010)
“Lazarus’s super-saturated color fields are sprinkled with the cremated remains of the late artist Robert Heinecken, on first glance resembling star systems photographed in deep space.”
From an interview with the artist by Forrest Martin:
FM: When most people first look through the magazine, they assume these images are telescopic visions of space and star clusters. In fact, they’re photograms of a man’s ashes. Can you explain what photograms are, and why this seemed like the best thing to do with a salt shaker full of incinerated flesh and bone?
JL: Photograms are simply photographic paper that has been exposed to something other than a projected negative image. After struggling for a long time with how to work with the ashes, it became obvious that the process was the most appropriate way to pay homage to Heinecken because of his distinctive commitment to this particular way of creating imagery.
I decided to create a series of photograms where each image was a response to the photogram made before it. The first photogram is solid cyan, and each one that follows is some variation color filtration, time, multiple light sources, multiple exposures, and burning/dodging.
This loop from creation and experimentation to assessment and creation again seemed to me the answer to respecting the spirit in his many years of making photographic works.
The series of 25 images was made in one sitting at Columbia College Chicago. It felt important to not break the creative process once I started.
FM: When handling Robert’s cremains for this project, did you treat them in any special way?
JL: Yes and no. At first I was literally trembling when opening the salt shaker. It was a great moment to reconcile myself with not only a great photographer, but mortality as a physical material in my hand. In the complete blackness of the color darkroom and once you get into a groove, the material ends up spreading out around your work area, getting on your clothes — there’s no way to avoid it. The working process became about gaining familiarity and comfort with the texture and feel of the material rather than fetishizing it.
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USA, circa 1920
From Anonymous by Robert Flynn Johnson
Shaker furniture:
the craftsmanship of an American communal sect
by Edward Deming Andrews and Faith Andrews. Photos. by William F. Winter.-
Unknown Photographer - Still life with apples and knife
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Bridget Riley
