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  jesuisperdu:

  ada hamza

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  Gagosian blah blah blah….but YA! TWOMBLY!

  disturber-magazine:

  CY TWOMBLY - PHOTOGRAPHS 

  GAGOSIAN GALLERY
  APRIL 27 - JUNE 9, 2012

  “In tribute to the late Cy Twombly, Gagosian Gallery is proud to present his last paintings and one hundred of his photographs, ranging from early studio impressions from the 1950s to a group of landscape subjects that he took in St Barths last year.

  Since 2008, major exhibitions of Twombly’s intimate photographs have been held at FOAM Amsterdam, Museum Brandhorst, Munich and the Palais des Beaux Arts, Brussels; however this is the first time that the lesser known aspect of his oeuvre has been presented in such depth in the U.S. The eight untitled paintings are closely related to the Camino Real group that inaugurated Gagosian Paris in 2010.

  The inimitable, exuberant paintwork and bold, intense colors typify the freedom with which Twombly worked, never restricted to a single reference. Even in the face of his impending death, their elegiac power, vivid palette, and ardent gestures pulse with the energies of the new. Twombly remains one of the world’s most revered contemporary artists, whose central and ongoing relevance to the art of the present is attested to by a stream of recent survey exhibitions in leading international institutions. Since the opening of the first Gagosian Gallery in New York in the mid-eighties, Twombly has been a cornerstone of the gallery.

  He made many exhibitions there over the last twenty-five years, each one as surprising and memorable as the last, from the Bolsena Paintings (1990) to The Coronation of Sesostris (2001) to Lepanto (2002), Bacchus (2007), and The Rose (2009). Ten Sculptures and a Painting (2003), Three Notes for Salalah (2007), Leaving Paphos Ringed with Waves (2009), and Camino Real (2010) inaugurated new galleries in London, Rome, Athens, and Paris respectively.”

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  thegildedcentury:

  Life, November 14, 1944

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  defacedbook:

  Joseph Kosuth

  Notebook on Water, 1965-66

  Envelope, not opened

  (24.3 x 30.5 cm)

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  a photo credit would be cool…

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  blaaargh:

  Challinor, Taylor and Company, Tumblrs, 1870-90

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  betonbabe:

  LÁSZLÓ MOHOLY-NAGY

  PINS AND PLASTIC, 1937-38

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  michaelswaney:

  Karin Ruggaber, Relief #59, 2008. plaster, pigment, 48 × 70.5 × 2.5 cm

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  michaelswaney:

  Karin Ruggaber, Relief #90, 2010. concrete, plaster, pigment, spray paint & bark, 418 × 166 × 4.5 cm

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  dontrblgme:

  amabro  CHOKU 蛸唐草

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  alightthatnevergoesout:

  and another lovely Ellsworth Kelly plant drawing

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  nathalik:

  Beautiful posters designed by Sonnenzimmer, the Chicago-based studio of painters Nick Butcher and Nadine Nakanishi. (via BOOOOOOOM!)

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  stevienicksandthings:

  Ed Ruscha. Vanishing Cream.

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  jesuisperdu:

  jamey hoag

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  desert-boots:

  I Dunno by Ed Ruscha, 1977

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  kenmat:

  Lutetium_sublimed_dendritic_and_1cm3_cube.jpg

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  wesdelval:

  Bill Bollinger

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  archiveofaffinities:

  Ellsworth Kelly, Rebound, 1959

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  workspaces:

  National Geographic, January 1981 | via ofnationalgeographic

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  ninaperlman:

  (via Knight’s tour - Wikipedia, the free encyclopedia)

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  christopherschreck:

  Karin Ruggaber

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  catasters:

  
  

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  theories-of:

  Christian Maychack-compound flat

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  onethru8:

  Tomas Alonso

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  artspotting:

  Jessica Hans via Iko Iko - tumblr: Strangefires

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  otto-obrien:

  criterioncorner:

  Chris Marker’s Split-Second Cameo in SANS SOLEIL 

  so far as elusive figures go, chris marker isn’t exactly j.d. salinger or anything, but the renowned visual artist is about as far removed from kevin smith as contemporary filmmakers get (er… “living filmmakers” might be the more accurate term). Marker typically represents himself with the image of a cat, and his actual appearances are rare enough for each to qualify as minor events — his brief cameo in Wim Wenders Tokyo-Ga is so jarring that it can unmoor viewers from the rest of the film.

  today i re-watched Marker’s masterpiece Sans Soleil, in part because we’re discussing it on this week’s episode of Operation Kino (Cinema Blend’s podcast, on which i’m one of the co-hosts), and in part because it’s… you know… a day. if i had noticed Marker’s split-second cameo / self-portrait before, i hadn’t remembered. but there he is, just for a frame or two, his face in a camera on a monitor in a camera, on the streets of Tokyo. i considered getting off my ass and retrieving my Canon 7D for the screen grab, but i decided that my iPhone was somehow a more appropriate means of recording this image (i almost feel like this is a spoiler, but you can find it at the 56:06 mark).

  Criterion’s Blu-ray of LA JETEE and SANS SOLEIL is in stores now.

  fave auto-reblog

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  mpdrolet:

  Sand Creatures, 1970

  Ray Metzker
  

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  mpdrolet:

  Exhausted, 2003

  Joseph Szabo

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  jesuisperdu:

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