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John McWilliams (b. July 11, 1941): Untitled, 1975 - gelatin silver print (Smithsonian)
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Giuseppe Penone
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This is the first playlist I ever made. It’s from the summer of 2008.
I find myself listening to it often and have come to memorize very well the way the songs relate to each other. It’s called, Ghost at Noon.
Enjoy :)
Incelensa - Quarteto Em Cy
Ah! - Popol Vuh
Loud, Loud, Loud - Aphrodite’s Child
El Ray - Secos e Molhados
Silver Cycles - Eddie Harris
Paint a Lady - Susan Christie
Pelle di Luna - Piero Umiliani
? - ?
For Some We Loved - Dorothy Ashby
Meu Mar - Erasmo Carlos
Alegria Do Povo - Satwa
Alkuhärkä - Kemialliset Ystävät
(photo by David Hamilton)
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Lucie Rie
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william wegman
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william wegman
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Work by Marlo Pascual
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(via aubzillatron)
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Happy 4th.
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The line above is rotating on its axis at a speed of one revolution each day.
«The world is full of objects, more or less interesting; I do not wish to add any more.
I prefer, simply, to state the existence of things in terms of time and/or place.
More specifically, the work concerns itself with things whose interrelationship is beyond direct perceptual experience.
Because the work is beyond direct perceptual experience, awareness of the work depends on a system of documentation.
This documentation takes the form of photographs, maps, drawings, and descriptive language.»
~ Douglas Huebler, 1969.
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Made a playlist to share, called Gravity and Grace.
You can download it here
Day and Night - Bo Hansson
The River Tune - Bassekou Kouyate & Ngoni ba
A Little Girl Lost - David Axelrod
I talk to the wind - Giles, Giles & Fripp
Jardim Dos Deuses - Joyce, Nana Vasconcelos, & Mauricio Maestro
Como O Machado - Lô Borges
Curtíssima - Módulo 1000
Flower Strewing - People
L’ Herbe - Roger Rodier
Parting Dance - Suni McGrath
Manin No Ki - Takashi Nishioka
Psyche I - These Trails
The Crosswords & the Safety Pins - The Battered Ornaments -
“This lakelet was, perhaps, a hundred yards in diameter at its widest part. No crystal could be clearer than its waters. Its bottom, which could be distinctly seen, consisted altogether of pebbles brilliantly white. Its banks, of the emerald grass already described, rounded, rather than sloped, off into the clear heaven below; and so clear was this heaven, so perfectly, at times, did it reflect all objects above it, that where the true bank ended and where the mimic one commenced, it was a point of no little difficulty to determine.”
—Edgar Allan Poe, Landor’s Cottage
From The Illustrated Edgar Allan Poe by Wilfried “Sätty” Podriech
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Eva Hesse, Inside I, 1967, Acrylic, papier-mâché, wood, cord, wire, 30.5 x 30.5 x 30.5 cm,
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Gil J Wolman, Le Mouvement séparatiste, 1978, Fotografia a les sals de plata sobre cartró, 120 x 80 cm
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Jack Tworkov
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A man I met at the “People First” march on June 25th, 2010. College at Bay St, Toronto.
Protesters were reacting to the G8/G20 Summit in Toronto.
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do what thou wilt is to bid the stars to shine, the vine to bear grapes, water to find its level
Aleister Crowley
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Tokyo, 1963
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Valie Export
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Daniel Buren
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Valie Export
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Valie Export
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Henry Flynt
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Nam June Paik, Zen for Film, 1964
In an endless loop, unexposed film runs through the projector. The resulting projected image shows a surface illuminated by a bright light, occasionally altered by the appearance of scratches and dust particles in the surface of the damaged film material. As an analogy to John Cage, who included silence as a non-sound in his music, Paik uses the emptiness of the image for his art. This a film which depicts only itself and its own material qualities, and which, as an “anti-film”, is meant to encourage viewers to oppose the flood of images from outside with one’s own interior images.
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Fluxus Manifesto, George Maciunas, 1963
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Halsman family with cameras, 1950
Photographer unknown
[via All Things Amazing]
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Alighiero Boetti
