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driessens & verstappen: Morphotheque # 12, 2001, 4 elements, 1:1 casts of icicles, polyurethane, 70 cm long. Photo: Hans Gieles.
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Nicolai Howalt
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Haus, Dortmund-Marten, Ruhrgebiet
photo by Bernd & Hilla Becher, 1979
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Kodak Wratten Gelatin Filter No 12 Foil Wrap
from, open lines
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Walker Evans, subway portraits
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NESRIN DURING (via ䷽⧚G: NESRIN DURING
)
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Despite the mutant snowflakes, I’m taking myself out on a date.
Headed to my friends Scott and Colin’s dymaxion house night, Pacific High. Last Saturday of the month at The Ossington, if you are in Toronto.
http://www.youtube.com/watch?v=rLkkWCGvJKo
Don’t stop dancing.
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“I was on very intimate terms with Tarkovsky. I always felt like he was my younger brother. Drinking together, we sang the theme of Seven Samurai together. His expression of water element! It was unique, indeed. Watching this film always makes me want to return to Earth.”
- Kurosawa
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“Women like me can only submit to men capable of dominating them, and I have never found anyone capable of dominating me”
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Scrawled note, late night, at a bar, in Toronto.
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Call for Submissions!
(above image - Robert Barry, Eight Slides 1971)
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suicideblonde:incurablycurious:
Rhythm 0, 1974
To test the limits of the relationship between performer and audience, Marina Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.
Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were scissors, a knife, a whip, and, most notoriously, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.
Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) several people began to act quite aggressively. As Abramović described it later:
“The experience I learned was that…if you leave decision to the public, you can be killed.” … “I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.”
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Ed Ruscha
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Feb. 20, 1941 is the birthday of Canadian singer and First Nations activist and educator, Buffy Sainte-Marie: 70 years old today…
Photo of Buffy playing the mouth bow, NYC 1956 - Arthur Schatz (LIFE)
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Francis Alys, Narcotourism, 1996, graphic documentation of an action, Copenhagen.
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Francis Alys
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Tim Barber covering NYFW @ MilkStudios.tumblr.com
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klaus rinke (1972)
via rolu
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follow together project on twitter:
http://twitter.com/wealltogather
*above image - Documentary Protocols
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Ten-Minute Art School Course
The Jerry Saltz Abstract Manifesto, in Twenty Parts (via jennyeagleton)
1. Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.
2. Abstraction is staggeringly radical, circumvents language, and sidesteps naming or mere description. It disenchants, re-enchants, detoxifies, destabilizes, resists closure, slows perception, and increases our grasp of the world.
3. Abstraction not only explores consciousness — it changes it.
4. All art is abstract. A painting of a person or a still-life is a two-dimensional representation of three-dimensional reality and therefore infinitely abstract. Whenever an artist sets out to make something it turns into something else that he or she could never have imagined or predicted.
5. Think of an abstract painting as very, very low relief — a thing, not a picture.
6. Abstraction exists in the interstices between the ideal and the real, symbol and substance, the optic and the haptic, imagination and observation.
7. Abstraction brings the world into more complex, variable relations; it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness.
8. Abstraction, like ideas, intuitions, feelings, and life, is not mimetic.
9. Abstraction is as old as we are. It has existed for millennia outside the West. It is present on cave walls, in Egyptian and Cypriot Greek art, Chinese scholar rocks, all Islamic and Jewish art — both of which forbid representation. Abstraction is only new in the West.
10. Abstraction gained ground in Western art after centuries of more perfected systems of representation. By the mid-nineteenth century, representation felt like a trap, and seemed empty, false, or limiting. A similar situation existed in the early aughts, after artists of the nineties re-deployed realisms in numerous ways. The field appeared closed off for younger artists. That’s why contemporary artists have not only begun to reexplore the possibilities of abstraction, they’re shedding much of the Greenbergian cant and academic-formalist dogma that attached themselves to it over the last 50 years. Abstraction is breaking free again.
11. Abstraction offers ways around what Beckett called “the neatness of identification.”
12. Rothko’s glowing floating rectangles of color are more than abstract patterns. They are Buddhist TVs or what Keats called “good oblivion. One sees what nothing looks like in them. They make you ask, “What light through yonder painting breaks?” (Now do you see how full emptiness and abstraction can be?)
13. Abstraction is just a tool. It is no less “real” than philosophy or music.
14. Abstraction is something outside of life that allows us to be present at our own absence or alternatively absent in our own presence.
15. Abstraction creates patterns of meaning and its own extremely flexible intricate syntax. It is astral synthesis.
16. Abstraction teeters on making empty gestures while also making deep statements.
17. The camera was supposed to supplant painting but didn’t. Instead, painting — ever the sponge, always elastic — absorbed it and discovered new realms.
18. Abstraction may speak in a sort of intra-species visual-electronic-chemical-pheromonal code, creating optical-cerebral networks and wormholes, organic maps of unknown yet familiar territories, may have a kind of plant intelligence that allows it to grow, proliferate, flower, change directions, and survive relentless aesthetic predation from a lay public.
19. Abstraction contains multitudes.
20. I’ve left out No. 20, because I want to hear your opinion: What else does abstraction do that’s special?
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Rain Toward Morning - Elizabeth Bishop
The great light cage has broken up in the air,
freeing, I think, about a million birds
whose wild ascending shadows will not be back,
and all the wires come falling down.
No cage, no frightening birds; the rain
is brightening now. The face is pale
that tried the puzzle of their prison
and solved it with an unexpected kiss,
whose freckled unsuspected hands alit. -
Variable Piece no. 70 (In Process) by Douglas Huebler, scanned from the book Crocodile Tears, published by The Museum of Contemporary Art, Los Angeles, 1986.
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Paris is Burning, US, 1990, directed by Jennie Livingston
