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Michael Decker
“Once their consciousness has been converted into pure means without any qualification, it may cease to be a means and breach, with its attachment to particular objects, the last heteronomous barrier; its last entrapment in the existing state, the last fetishism of the status quo, including that of its own self, which is dissolved in its radical implementation as an instrument. Drawing breath at last, it may grow aware of the incongruence between its rational development and the irrationality of its ends, and act accordingly.”
2010
vanity mirror, brass tension rod, lamp stand
60 x 8 x 10 inches -
Theaster Gates
Untitled
2011
cement, cardboard, porcelain, debris
20” x 15” x 13” -
montgomery perry smith, golden, 2010. light fixture, fake flowers, 14”
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Fabric, by Jack Rohman.
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Bree Apperly poster for Sleeperhold Publications
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Eugene Richards (b. April 25, 1944): Uphams Corner (Dorchester, Mass.), 1974 - gelatin silver print (Smithsonian)
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Craters of the Moon, Self Portrait by Judy Dater, 1981
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WHAT!
I did not know this :(
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Miranda July
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Infinito, Cartone Cuoio (leather board), 1977
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Richard Tuttle, Ten Sided Pale Orange Canvas, 1967
via eiliseiliseilis:
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William Klein: Paris, 1968
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who by???
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Piet Hein is remembered chiefly as a designer, and many of his items are based on his invention, the super-egg - a three-dimensional realization of his mathematical discovery, the super-ellipse (a combination of the rectangle and the ellipse) - which he used extensively in his designs, from architecture to furniture, crockery and trinkets…
Above: The super-egg as Zodiac stone. Shown here, a Heliotrope stone for Aries - an appropriate present for my up-and-coming birthday on Wednesday…
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jsbj:
Jessica Hans
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Paul den Hollander
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David La Spina
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Imogen Cunningham: Two Aikos, 1971
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David La Spina
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Jack Gilbert
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Keeping Things Whole by Mark Strand
In a field
I am the absence
of field.
This is
always the case.
Wherever I am
I am what is missing.
When I walk
I part the air
and always
the air moves in
to fill the spaces
where my body’s been.
We all have reasons
for moving.
I move
to keep things whole. -
nepal
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yoko
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Matta-Clark once told an interviewer that, far from addressing humanity’s problems, most architects were not ‘solving anything except how to make a living’. Yet it was not just a question of attacking architects or architectural theories. Matta-Clark writes in one of his notebooks that, ‘Design morality is valid. The functional issue was chosen because it seemed the most critical break from the beaux-arts, histrionic garbage. It was valid for its time. But how long has it been? Seventy years since any kind of radical reappraisal has gone on?’ It was the dead hand of such figures as Le Corbusier on American creativity that Matta-Clark resented. Yet the passionately held tenets of those he jokingly referred to as ‘The International Stool’ could be turned in an intellectual judo-move and used to develop his own conceptual framework. This was a game that could provide real results. With the help of his fellow travellers Matta-Clark was carving out a territory within which to work. Anarchitecture, with its use of found photographs and the aphoristic statements Matta-Clark recorded in his notebooks, is on some level both an echo of and a riposte to Corbusier’s polemic.
Tate Papers - Towards Anarchitecture: Gordon Matta-Clark And Le Corbusier
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Tammi Campbell is a visual artist based in Saskatoon, Saskatchewan CANADA.
The image above is from Campbell’s ongoing series of silent letter/drawings to Agnes Martin (b. Macklin, Saskatchewan).
via makeandmake:
