"Untitled, Amish bars variation" 2013, Lindsay Stead
More of her minimal quilts here.
via d-e-si-g-n

"Untitled, Amish bars variation" 2013, Lindsay Stead

More of her minimal quilts here.

via d-e-si-g-n

mymodernmet:

Peru-based artist Ana Teresa Barboza uses yarn, thread, wool, and fabric to produce unique, tactile embroidery works. The artist has no boundaries to the way she creates, blending drawings and photographs together with embroidery and knitting to produce unexpected forms that extend beyond walls and frames.

Form, for these poets, grows out of and exceeds subject, matter, material, the weight of paint, the phonemes in words: form occurs not because we have nothing, but because we want more.
Chris Marker’s stunning travel guides

Chris Marker’s stunning travel guides

Beautiful, “misshapen” ceramic sculptures by Kathy Butterly 

P.S. John Yau reviews of her current exhibit at Tibor de Nagy in Hyperallergic.

(via whimsebox)

(Epigraph to the first section of Ronald Johnson’s ARK)

(Epigraph to the first section of Ronald Johnson’s ARK)

💜💙💚💛❤️ 🐙🐙🐙

Credit: Edward Steed

💜💙💚💛❤️ 🐙🐙🐙

Credit: Edward Steed

I have never heard anyone talk about this film and that is a tragedy! It is so damn good. Chicago in the 60s, mobsters, lounge acts, stand-up comedy, Stan Getz soundtrack, a Jean Tinguely-esque self-destructing machine… What’s not to love?

Mickey One (1965, dir. Arthur Penn) stars Warren Beatty as a stand-up comedian who can’t live his life because he’s paranoid that the mob is after him. He doesn’t know who to believe, and we don’t either. Deserves to be on the top of any list of best Chicago films, best American New Wave films, best 60s films. Well, in my opinion, just one of the best films period. It’s a wonder that Criterion hasn’t gotten a hold of it yet.

"Just knowing that he is in the same city may give me the power to hurt myself into poetry."

nyrbclassics:

image

The only pleasant thing that’s happened to me since you left is that I read Paul Goodman’s current manifesto in Kenyon Review and if you haven’t devoured its delicious message rush to your nearest newsstand! It is really lucid about what’s bothering us both besides sex, and it’s so…

Frank O’Hara, master wordsmith AND master draftsman.

free-parking:

Eleanor Antin — Blood of a Poet Box, wood box containing blood samples taken from 100 poets, 1965-1968

free-parking:

Eleanor AntinBlood of a Poet Box, wood box containing blood samples taken from 100 poets, 1965-1968

theparisreview:

An example of Alain Arias-Misson’s “Public Poem.”
As Textfield explains,

“Alain Arias-Misson created the Public Poem forty-five years ago in Brussels and Madrid when he decided ‘to write on the street like a page.’ From the Cutting-Floor of the Public Poem gives a graphic account of this always disruptive urban poet—from the Place St.-Germain in Paris to the Sixtine Chapel in the Vatican and Madison Square Garden in New York City.”

theparisreview:

An example of Alain Arias-Misson’s “Public Poem.”

As Textfield explains,

“Alain Arias-Misson created the Public Poem forty-five years ago in Brussels and Madrid when he decided ‘to write on the street like a page.’ From the Cutting-Floor of the Public Poem gives a graphic account of this always disruptive urban poet—from the Place St.-Germain in Paris to the Sixtine Chapel in the Vatican and Madison Square Garden in New York City.”

likeafieldmouse:

Wies Prejide - Woven Rooms (2013)

"The installation consists of various hand-woven walls, which together, affects our perspectives in space. 

A combination of lines, colors, views and passageways gives the observer the idea of walking through a transparent home. Different color combinations exist in the abstracted, patterned spaces, resulting in a flat image which gives the holographic impression of a three dimensional expansion. The screens render the existing space partitionable, articulating new spaces which provide an illusional as well as a physical subdivision of the room.

The varied vertical, horizontal, and diagonal lines coalesce into rooms, windows, and other imaginary environments and passages. The woven fiber-walls also are slightly transparent, thus providing a translucent lens to the other side of the threaded divider. This will make the observer curious and invites him to start moving around in the installation and discover and experience the different color combinations and patterns which make up the space.”

More beautiful visual details over at Juxtapoz.

theparisreview:

“To make a wood engraving is to insist on the gravitas of an image. Every line is fought for, patiently, sometimes bloodily. It slows the viewer down. Knowing that the work is deeply inscribed gives an image weight and depth.”
Art Spiegelman on the woodcuts of Lynd Ward.

theparisreview:

“To make a wood engraving is to insist on the gravitas of an image. Every line is fought for, patiently, sometimes bloodily. It slows the viewer down. Knowing that the work is deeply inscribed gives an image weight and depth.”

Art Spiegelman on the woodcuts of Lynd Ward.

Pearl Primus with Alphonse Climber, in “Folk Dance” (c. 1945). 
Via Yale Press

Pearl Primus with Alphonse Climber, in “Folk Dance” (c. 1945).

Via Yale Press