1. Sarah McNulty
     
  2.  
  3.  
  4. denisforkas:

Hans Holbein the Younger - Night Scene on a Wooded Riverbank. 1520

    denisforkas:

    Hans Holbein the Younger - Night Scene on a Wooded Riverbank. 1520

    (Source: drakontomalloi)

     
  5. quincampoix:

Liubov Popova, textile design, 1924

    quincampoix:

    Liubov Popova, textile design, 1924

     
  6. akapearlofagirl:
     
  7. 8:27pm Mar 1st 2014


    tags: 
    art

    reblogged: 
    c86

    c86:

Elsewhere and Elsewhen, edited by Groff Conklin, 1968
Artwork by Don Ivan Punchatz
     
  8. collectingdifferentstories:

Lygia ClarkBicho - Em si, 1962card, adhesive tape, graphiteDiameter: 11.5 cm

    collectingdifferentstories:

    Lygia Clark
    Bicho - Em si, 1962
    card, adhesive tape, graphite
    Diameter: 11.5 cm

    (Source: berndwuersching)

     
  9. towerofsleep:

    littleopticalmachine:

    y/n grad school is supposed to feel like a round-the-clock panic attack about your own (in)ability to think anything worth thinking????

    eventually you transition from that impostor syndrome into an exhausted frustration with how much work you’re going to have to do in order to show how other people are wrong

     
  10. Richard Teschner via

    Richard Teschner via

     
  11.  

    “All are lapidary. Coincidental resemblances to such objects and figures as arches, gates, tables, spheres, hemispheres, and crescents do occur, but such forms are not symbols. Rather, they are newly invented primal shapes without encoded messages. It would be erroneous to associate the flow of their lines with, say, a window or a bridge.” 23

    “one is tempted to consider the lapidary shape as only a fragment. As in the watercolors with flowing lines, the “simple” compositions are neither symmetrical nor centered; the large shapes are often cut off by the edges of the papers on one or both sides, giving rise to an impression of arbitrary limits.” 24

    “The color extends out across the ground like breath.” 25

    “Even though she would not go as far as Beuys, who assigned to colors a specific archetypal symbolism informed by his own personal mythology, his conceptions can serve as a guide to her far more forthright notions. Frecon’s earth reds that absorb light are the very ones seen in prehistoric wall paintings in the caves at Lascaux. For her, pigment does not undergo any sort of transubstantiation as it does in Beuys’s work.” 25; “Beuys applied color in an opaque manner. For him, color transformed itself into skin, became corporeal. That the transformation was intended is documented by his statement: “Brown is a very heavily muted red, the desire to be solid. Brown is earth and primal red that has built up, earthy warmth, dried-up blood.” 26

    -Matthias Frehner on Suzan Frecon.

     
  12. Vello Vinn via

    Vello Vinn via

     
  13. 9:48pm Feb 8th 2014


    tags: 
    art

    reblogged: 
    kchayka

    kchayka:

Early Muji background music.
     
  14. P.D.Q., Montana Chair, 1986 via

    P.D.Q., Montana Chair, 1986 via

     
  15. rachelcrummeyrachelcrummey:

Altoon Sultan, hand dyed wool and egg tempera on linen, 15 x 12 inches.  From her gem of a blog, ‘studio and garden’

    rachelcrummeyrachelcrummey:

    Altoon Sultan, hand dyed wool and egg tempera on linen, 15 x 12 inches.  From her gem of a blog, ‘studio and garden