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  aqqindex:

  Hans Hollein, Prototype

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  exasperated-viewer-on-air:

  Christopher Roberson - Champ, 2013

  reinforced concrete

  ~ 42” x 32”

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  cinemasavage:

  Casablanca (Dir. Michael Curtiz, 1942)

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  randomitus:

  Mike Kelley (at Stedelijk Museum Amsterdam)

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  roxanaazar:

  oh my god we’re having a fire sale

  
  4 years of college test prints have got to go.

  roxanaazar.bigcartel.com

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  by Nobuyoshi Araki - taken in Tokyo 1962

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  aqqindex:

  French Interior, Circa 1983

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  Tracey Emin - You said I was beautiful, 2009.

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  grimmperiodikum:

  French Carmelite Nun circa 1905

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  carre-blanc:

  Kristin Walsh, “Antique Leak”.

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  julianminima:

  Excerpt from Agnes Martin’s book Writings.

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  christopherschreck:

  Poetic Justice, Hollis Frampton, 16mm, 1972, 31 mins

  screening at Light Industry (155 Freeman St, Brooklyn)

  Tuesday March 26th, 7pm, $7
  

  “In 1972, Hollis Frampton made a film from a script, but not in the way you’d expect. He completed Poetic Justice, which he called “a film script in the act of becoming a film,” consisting of a series of consecutive images of a handwritten screenplay. The stack of letter-size paper is situated on a table (as Frampton put it, “between a cactus, since unfortunately deceased, and a cup of coffee”), and the… shots of its 240 pages are interrupted by flash frames. Like (nostalgia), which would also come to serve as one of the seven works in Frampton’s Hapax Legomena cycle, Poetic Justice plays with the optical and conceptual relationships between the still and moving image, between photography and film, describing a second-person narrative about lovers with cameras that takes place at the moment of its reading, in the invisible cinema of the spectator’s imagination. Or, as Annette Michelson observed, “the projection is that of a film as consonant with the projection of the mind.”

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  crematorie:

  François Morellet

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  siftingflour:

  Beginners

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  cavetocanvas:

  Robert Mangold, Circle In and Out of a Polygon 2, 1973

  From the Guggenheim:

  In 1973 Mangold created at least four versions of Circle In and Out of a Polygon; two were executed on canvas and two on Masonite. In all four the interior graphite line becomes interchangeable with the top, left, and bottom borders of the support. Similarly, half of the circle is outlined on the acrylic surface, while the other half continues as the curved edge on the painting’s right. Mangold challenges his viewers to mentally reverse such images in order to comprehend the compositional nuances of the geometric abstraction. It is this emphasis on the conceptual basis of vision that truly links Mangold to the Minimalists, who brought their audiences to an unprecedented level of perceptual awareness.

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  mpdrolet:

  Dum Dums

  Stephanie Gonot

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  justanothermasterpiece:

  Robert Motherwell

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  cinoh:

  1950 STILNOVO DIABOLO FLOOR-LAMP

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  sapta-loka:

  From “American Denim: A New Folk Art” by Peter Beagle, Richard M. Owens and Tony Lane, 1975.

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  markagoodwin:

  By Mark Goodwin

  http://markagoodwin.com/home/

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  icancauseaconstellation:

  Marcel Duchamp, Designs for Chessmen, 1920 (MOMA—Katherine Dreier Bequest)

  The laughing ass would become the emblem of Duchamp and Dreier’s institution, the Société Anonyme, Inc., inaugurated in 1920.