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plastics for kinetic art, nicholas roukes, 1974
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COME BY THE BROOKLYN ZINE FEST AT PUBLIC ASSEMBLY THIS SUNDAY, APRIL 21 FROM 11AM-6PM. MG WILL BE THERE SITTING NEXT TO NOWORK, WAITING FOR YOU.
IMAGE FROM BOOK OF FATE
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(via chromeus, fuckyeahgoths)
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From Background Noise
Ben Alper
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john baldessari - green kiss/red embrace
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Happy to announce a solo exhibition for this year’s CONTACT Photography Festival in Toronto. More info here.
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KAM workshop 2013
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advert for mild seven cigarettes, 1989
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Dan Graham, Model for Pavilion Influenced by Moon, 1988
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Sharon Gong
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Can someone please tell me who the artist of this work is????
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frame drum, Thunder Elk, Sioux via the MET
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Found, Singapore, 2013
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Duane Michals, I Build a Pyramid, 1978
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Communion, steel, rope, marine glue, 1.5” x 36”, 2012.
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angoisse.
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Photo by Vahid Salemi. Wish more AP photogs had websites, love to post more of Salemi’s work.
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lvs:
THIS
oscillationindigo: margaret de patta, 1948
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for people who haven’t checked out the new issue of Aperture, go HERE to read “Nine Years, A Million Conceptual Miles” by Charlotte Cotton
“Contemporary art photographers are opening up new ways of thinking about the medium. Are institutions ready for this wave of photographic innovation?”
“…Watching these developments, I’ve oscillated between feeling we are on the cusp of seeing unimaginably brilliant, liberated, and different iterations of photographic ideas in a wholesale digital world, and being worried that we may be marking the cynical end of a once-central visual medium that is now being put out to a niche pasture.
My own drama over this problematic cultural paradigm doesn’t stem from a sense of photographic practice per se becoming redundant in its capability for social and cultural awakening. Far from it. Instead, it comes from a genuine concern that the very mechanisms of the medium’s dissemination—publishing houses, museums, commercial galleries, and art schools—that could be seen as having won the good fight to legitimize photography as a contemporary art form with its own medium-specific history are becoming part of the problem. These structures, with their gamut of agendas, unwittingly risk placing a stranglehold upon the evolution of the medium.”
(above: Kate Steciw)
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