Hanging Construction by Alexander Rodchenko, 1920
Brice Marden
Adriatics (A), 1973, Etching with aquatint, 32 9/16 x 22 1/4 inches
Adriatics (B), 1973, Etching with aquatint, 32 5/8 x 22 1/4 inches
Adriatics (C), 1973, Etching with aquatint, 32 1/2 x 22 3/16 inches
Adriatics (D), 1973, Etching with aquatint, 34 3/8 x 23 7/8 inches
Adriatics (E), 1973, Etching, 34 3/8 x 23 7/8 inches
Adriatics (F), 1973, Etching, 32 9/16 x 36 3/8
Adriatics (G), 1973, Etching, 32 5/8 x 36 inches
(via dooooq)
outside-in: the infinite garden by meir lobaton corona + ulli heckmann
all images © fabio ferrario
the ‘outside-in’ garden by architects meir lobaton corona and ulli heckmann, is conceived as a visual paradox for the 22nd international garden festival of chaumont sur loire, france - a device that enhances conditions in order to make the audience realize how by relying only on sight, they rely on imagination.
the intervention provides a sense of how vision can become a shield that precludes the possibility of having a holistic experience of life - one that involves the entire body and that extends beyond it.
http://www.palaisdetokyo.com/en/exhibitions/interventions-building/bernard-aubertin
Vue de l’exposition de Bernard Aubertin, programme des interventions sur le bâtiment, dans le cadre de la saison “Imaginez l’Imaginaire”, 28.09.12 - 30.09.13, Palais de Tokyo, Paris. Bernard Aubertin, Tableau feu, 2012, performance du 27.09.12, © ADAGP, Paris 2012. Photo : Didier Plowy. (via Bernard Aubertin | Palais de Tokyo, centre d’art contemporain)
(via art-and-bob)
Roden Crater and Autonomous Structures
James Turrell
Eva Hild (Swedish, born in 1966)
Sinuous
2010
Hand-coiled clay, silicate color
31 ½ x 15 ½ x 15 ½ inches
Edwin E. Jack Fund, 2011.2Artist Eva Hild hand shaped this ceramic piece, deliberately creating a form that seems to have a continuous flow between inside and outside. There is no beginning or end to its structure, allowing the eye to weave in and out along the wave-like form. The fluidity of the piece is emphasized further by Hild’s conscious use of negative space and monochrome palate.
Emily Zilber
Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts
Museum of Fine Arts, Boston
http://www.mfa.org/
(via onsomething)
http://bombsite.com/issues/112/articles/3525
Deborah Kass
Streb, 1998
http://artasiapacific.com/Magazine/65/TaboosInJapanesePostwarArtMutuallyAssuredDecorum
ArtAsiaPacific: Taboos In Japanese Postwar Art Mutually Assured Decorum
Atomic Bomb Dome
Exterior Frescoes at Sucevița Monastery, an Eastern Orthodox convent situated in the Northeastern part of Romania, 16th Century.
Image via Smithsonian Magazine, Print Edition, June 2007, Scripture Alfresco.
(via workman)
Japanese-American sculptor and designer Isamu Noguchi’s life reads like an encyclopedia of 20th-century arts. Linked here is the transcript (and an mp3 clip) of an oral history interview he did with the Archives of American Art at the Smithsonian, in which he discusses his childhood in Japan, life in New York, work with luminaries like Martha Graham and more.
