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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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Robert Mapplethorpe
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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:
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Jacket 2 - a site for poetry and poetics
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Lee Friedlander-Mount Rushmore, South Dakota-1969
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David Hammons Bliz-aard Ball Sale 1983
a performance piece in which Hammons situates himself alongside street vendors in downtown Manhattan in order to sell snowballs which are priced according to size. This act serves both as a parody on commodity exchange and a commentary on the capitalistic nature of art fostered by art galleries. Furthermore, it puts a satirical premium on ‘whiteness’, ridiculing the superficial luxury of racial classification as well as critiquing the hard social realities of street vending experienced by those who have been discriminated against in terms of race or class.
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Last night I participated in the annual C Magazine benefit auction at MOCCA (Museum of Contemporary Canadian Art) here in Toronto. I was delighted to discover that Micah Lexier won the bid for my photograph. Micah is a prominent Canadian artist who I’ve admired from afar for a while now. This is a great article about his work from the Walrus.
Thank you Micah!
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(via wannahearmymasterplan)
Gordon Matta-Clark - Splitting (1974)
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Allan Kaprow, Time Pieces, 1975
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halved avocado, brooklyn 2011
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François Morellet, 2 Trames de Tirets 0° 90°, 1974 (via Modern Design François Morellet Art
)
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OG
http://en.wikipedia.org/wiki/The_Bride_Stripped_Bare_By_Her_Bachelors,_Even
the mechanical bride; re: mcluhan talks with maria
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Richard Long, England, 1968
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Douglas Huebler, Mediate, 1978
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2 Robert Ryman Paintings.
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Stella
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Komposition L 59, Lithograph, Hans Hartung, 1974
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Simple in construction, yet profound in context, How to Make a Happening is Allan Kaprow delivering 11 rules on how, and how not, to make a “Happening” - a movement begun by Kaprow in the late fifties that is known for its unpredictability, open scores, and constantly-evolving form.
Click the image to listen to the record
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(via Group Show at Helena Papadopoulos Group Show at Helena Papadopoulos – Contemporary Art Daily)
