May. 20, 2013 at 12:49pm with 19 notes
Reblogged from donshare
Helen FrankenthalerJames Schuylerpost cardartistpoet
elainebleakney: Helen Frankenthaler. Post Card for James Schuyler. 1962-65-67. Not currently on view.

elainebleakney:

Helen Frankenthaler. Post Card for James Schuyler. 1962-65-67. Not currently on view.

Apr. 23, 2013 at 1:33pm with 4 notes
Weiner WerkstatteVienna WorkshopJosef Hoffmanstonescigarette casedesignDesign Observermodernism
Josef Hoffman (1870–1956), Cigarette Case with elaborate ornamentation of gold, opals, lapis, turquoises, mother of pearl, agate and semi-precious stones, c. 1912  John Foster has a great visual post about the Wiener Werkstätte (Vienna Workshop) over at Design Observer.

Josef Hoffman (1870–1956), Cigarette Case with elaborate ornamentation of gold, opals, lapis, turquoises, mother of pearl, agate and semi-precious stones, c. 1912 

John Foster has a great visual post about the Wiener Werkstätte (Vienna Workshop) over at Design Observer.

Apr. 22, 2013 at 10:55pm with 9 notes
inebriatedvideoartphenakistoscopepaperanimation

The Little Theater of Drunkenness. Love it. (Hat tip to Caroline Picard, via her weekly roundup at Bad At Sports.)

10:50pm with 2 notes
videoartstreetJames NaresThurston MooreSonic Youthslo-moNew York City

“My intention was to give the dreamlike impression of floating through a city full of people frozen in time, caught Pompeii-like, at a particular moment of thought, expression, or activity…a film to be viewed 100 years from now.”

—James Nares

Still thinking about James Nares’s STREET, which I saw at the Met two weeks ago. Everyone, including the museum guard, were entranced. Music in the piece was created and performed by Thurston Moore.

(clip via Paul Kasmin Gallery)

Apr. 2, 2013 at 10:41am with 1 note
bookpoetryBirds LLCto readillustration
Rise in the Fall by Ana Božičević, illustrated by Bianca Stone.

Rise in the Fall by Ana Božičević, illustrated by Bianca Stone.

Mar. 29, 2013 at 10:51am with 6 notes
CzechmodernistposterdesignHyperallergicHanns Jakesch
Hanns Jakesch, “Brunner Verkaufsausstellung, Rudolf M. Rohrer, Brno” (1924) (via Hyperallergic, “The Allure of Czech Modernist Posters”)

Hanns Jakesch, “Brunner Verkaufsausstellung, Rudolf M. Rohrer, Brno” (1924)

(via Hyperallergic, “The Allure of Czech Modernist Posters”)

Mar. 24, 2013 at 11:14pm with 7 notes
breadparsonspdfmagazinepublic collectorsdesign
Parsons Bread Book



Every bit as amazing as it looks. 
(via the Public Collectors PDFs page. Download the PDF here.)

Mar. 19, 2013 at 2:46pm
“
Nietzsche tells us that he will “philosophize with a hammer,” striking not at temporary idols, but at the “eternal idols” that have mystified the entire philosophical tradition. What is sometimes forgotten is that he goes on to elaborate the metaphor of the hammer, depicting it not as an instrument for destruction, but for “sounding the idols.” In case we miss the point, he even goes on to elaborate it further by trading in the figure of the hammer for that of the “tuning fork” as the instrument for striking the idols. This dazzling metaphor (which is in fact a philosophical image, a theoretical picture) has at least two implications: the first is that Nietzsche does not aim to destroy the eternal idols (how could he, since they are eternal?) but only to “sound” them—that is, to make them speak, to divulge their secrets. He aims, in other words, to break only the silence that is so characteristic of idols. The other implication is that the sounding is dialogic or dialectical: by exchanging the hammer for a tuning fork, Nietzsche suggests that it is not only the idols that are sounded, but the critical discourse that is brought to them. I see this implication as deeply connected to the notion … that images cannot be destroyed. (Pictures, by contrast, material objects that are the bearers of images, can of course be destroyed; but the image survives that destruction, and often becomes even more powerful in its tendency to return in other media, including memory, narrative, and fantasy). The act of destroying or disfiguring an image, as Michael Taussig argues in “Defacement,” has the paradoxical effect of enhancing the life of that image. An image is never quite so lively as in the moment when someone tries to kill it.
— W.J.T. Mitchell, “What Do Pictures Want?” (an interview)
Mar. 18, 2013 at 3:52pm with 1 note
danceStravinskyRite of SpringLe Sacre du printempsMarieChouinardChicagoeventMCAMuseum of Contemporary Art

Le Sacre du Printemps, Ballet in one act, 1993
Choreography and artistic direction : Marie Chouinard


(At the MCA this weekend!)

Mar. 10, 2013 at 9:29pm with 88 notes
Reblogged from theparisreview
illustrated manuscriptPersiabookkings
theparisreview: “But all this world is like a tale we hear -Men’s evil, and their glory, disappear.” ― فردوسی, Shahnameh: The Persian Book of Kings, completed by Ferdowsi on this day in the year 1010.

theparisreview:

“But all this world is like a tale we hear -
Men’s evil, and their glory, disappear.”

― فردوسی, Shahnameh: The Persian Book of Kings, completed by Ferdowsi on this day in the year 1010.

Feb. 25, 2013 at 4:02pm with 6 notes
Diane di Primaarchetypesbeatpoet
“
Archetypes have their own drama: a vast uncharted cycle of Comedia dell’Arte, which they play out through us, without our informed consent. And with, ultimately, no concerns for human purpose.
— Diane di Prima, Recollections of My Life as a Woman. (via Dale Smith at the LA Review of Books.)
1:50pm with 1 note
John CageJane HammondartistartBombinterview
“
John Cage said something like this: When you’re a young artist, you are overwhelmed with the history of art. You are in your studio, and van Gogh and Delacroix, all these artists from the past, are in the room shouting at you, Do it this way, do it that way. And you work and work for years and years, and one by one these people exit the room. Eventually, if you’re lucky, you’re left there all by yourself. And then, the story goes, if you’re really lucky, you leave.
—

Jane Hammond, interviewed by David Lehman in Bomb

 

Feb. 22, 2013 at 3:02pm with 1,794 notes
Reblogged from seensense
3Ddrawingtech

prostheticknowledge:

3Doodler 

In case you missed this the past couple of days, an impressive handheld 3D printing pen, allowing to draw in three dimensions. Video embedded below:Have you ever just wished you could lift your pen off the paper and see your drawing become a real three dimensional object? Well now you can!

3Doodler is the world’s first and only 3D Printing Pen. Using ABS plastic (the material used by many 3D printers), 3Doodler draws in the air or on surfaces. It’s compact and easy to use, and requires no software or computers. You just plug it into a power socket and can start drawing anything within minutes.

Oh, and it’s also the most affordable way to 3D print… by a looong way! With 3Doodler we’re making fun 3D creation accessible to everyone.

You can find out more at the project’s Kickstarter page here

11:40am with 257 notes
Reblogged from criterioncollection
filmCriterioncolorLast Year at MarienbadAlain ResnaisDelphine Seyrigpurpledresshair
criterioncollection: Films you’ve only known in black-and-white in vivid color. Last Year at Marienbad. That bed. That dress. Delphine Seyrig.

criterioncollection:

Films you’ve only known in black-and-white in vivid color.

Last Year at Marienbad. That bed. That dress. Delphine Seyrig.

Feb. 18, 2013 at 10:30pm with 23 notes
Reblogged from poetsorg
poetrycomics
poetsorg: “There is occasional singing from the pitch-perfect void” New poetry comic by Bianca Stone in the new Brooklyn Rail

poetsorg:

“There is occasional singing from the pitch-perfect void”

New poetry comic by Bianca Stone in the new Brooklyn Rail