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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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  christopherschreck:

  Matias Cuevas

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  archiveofaffinities:

  David Hockney, Savings and Loan Building, 1967

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  emmacooper:

  Dieter Roth, Mittlerer Sonnenuntergang, 1968

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  christopherschreck:

  Justin Kelly

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  theglaze:

  McKeever Donovan

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  filosofies:

  A visual research about vegetables and their powerful color. Vegetables are dismantled and purified to their visual essence ‘RAW COLOR’.

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  Mark, I love em!!

  markdudiak:

  So I finally got these laser paintings figured out, here are a few of them in the studio.

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  pinatasmashing:

  Ettore Sottsass.

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  christopherschreck:

  Cy Twombly

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  no bones about it!

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  View with a Grain of Sand

  We call it a grain of sand,
  but it calls itself neither grain nor sand.
  It does just fine, without a name,
  whether general, particular,
  permanent, passing,
  incorrect, or apt.
  
  Our glance, our touch means nothing to it.
  It doesn’t feel itself seen and touched.
  And that it fell on the windowsill
  is only our experience, not its.
  For it, it is not different from falling on anything else
  with no assurance that it has finished falling
  or that it is falling still.
  
  The window has a wonderful view of a lake,
  but the view doesn’t view itself.
  It exists in this world
  colorless, shapeless,
  soundless, odorless, and painless.
  
  The lake’s floor exists floorlessly,
  and its shore exists shorelessly.
  The water feels itself neither wet nor dry
  and its waves to themselves are neither singular nor plural.
  They splash deaf to their own noise
  on pebbles neither large nor small.
  
  And all this beheath a sky by nature skyless
  in which the sun sets without setting at all
  and hides without hiding behind an unminding cloud.
  The wind ruffles it, its only reason being
  that it blows.
  
  A second passes.
  A second second.
  A third.
  But they’re three seconds only for us.
  
  Time has passed like courier with urgent news.
  But that’s just our simile.
  The character is inverted, his hasts is make believe,
  his news inhuman.

  disorganization:

   Wislawa Szymborska

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  michaelswaney:

  Niall Mcclelland, Trash - Zaps, 2012. Spraypaint and broken fluorescent bulbs on canvas, 72” x 48”

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  unbuiltroads:

  Richard Tuttle, Renaissance Unframed, #6, 1994 - 1995

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  nicolelavelle:

  From the archives:

  Everyone Has Something To Gain, 2011

  Newsprint poster insert for Open Engagement 2011 catalog. Text excerpted from within the same catalog, from an interview with the Bruce High Quality Foundation.

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  sympathyfortheartgallery:

  Jenny Holzer
  ENDGAME
  March 1 - April 7, 2012 
  Skarstedt Gallery

  what a great title and what refreshing work if you know her oeuvre. It’s based on censored government documents. So the link with text is still there. I am just a sucker for this sort of modernistic aesthetic with a bit of digital aesthetic thrown in.