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Gherpe Lamp by Superstudio Italy c. 1967
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‘we want to think’
Radical Architecture protest, Italy 1968
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nbqx:
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Ingo Mittelstaedt
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Ingo Mittelstaedt
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Vito Acconci
Following Piece, 1969
Following Piece is one of Acconci’s early works. The underlying idea was to select a person from the passers-by who were by chance walking by and to follow the person until he or she disappeared into a private place where Acconci could not enter. The act of following could last a few minutes, if the person then got into a car, or four or five hours, if the person went to a cinema or restaurant. Acconci carried out this performance everyday for a month. And he typed up an account of each pursuit, sending it each time to a different member of the art community.
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i heart transylvania (photos in and around vancouver) - jason nocito
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Lucie Rie ;)
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from comfort zones - allan kaprow (thanks rolu)
“The comfort zone is a behavioral state within which a person operates in an anxiety-neutral condition, using a limited set of behaviours to deliver a steady level of performance, usually without a sense of risk.”
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Robert Barry on zero1blog
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John Baldessari
Wrong, 1969
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website update…
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Butoh is an avant garde performance art, that has its origins in Japan in the 1960’s. Its founders were a young rebellious modern dancer named Tatsumi Hijikata (1928 -1986), and his partner Kazuo Ohno (b. 1906).
Hijikata was dissatisfied with the Japanese modern dance scene, feeling that it was merely a copy of the work being done in the West. He wanted to find a form of expression that was purely Japanese, and one that allowed the body to “speak” for itself, thru unconscious improvised movement. His first experiments were called Ankoku Butoh, or the Dance of Darkness. This darkness referred to the area of what was unknown to man, either within himself or in his surroundings. His butoh sought to tap the long dormant genetic forces that lay hidden in the shrinking consciousness of modern man.
Butoh loosely translated means stomp dance, or earth dance. Hijikata believed that by distorting the body, and by moving slowly on bent legs he could get away from the traditional idea of the beautiful body, and return to a more organic natural beauty. The beauty of an old woman bent against a sharp wind, as she struggles home with a basket of rice on her back. Or the beauty of a lone child splashing about in a mud puddle - this was the natural movement Hijikata wanted to explore.
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The Hands of John F Kennedy
California, 1960
From Cornell Capa
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Mark Rothko, No. 2, 1964
(via iconicimage, ratak-monodosico & laflaneuse8)
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La Rêve du Feu [The Dream of Fire]
circa 1961
[via All Things Amazing]
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Kristopher Keith Helton
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