miguelbonneville:

Glenn Ligon

Self Portrait Exaggerating My Black Features / Self Portrait Exaggerating My White Features, 1998.

(Source: anassembly)

madebyabvh:

Vincent van Gogh

gasp - a photograph! Why have I never thought of researching that…?

loverofbeauty:

Robert Rauschenberg by Andy Warhol  (1967)

(Source: kurtstarcity)

  1. Camera: Hasselblad H4D-50MS - H4D
  2. Aperture: f/14
  3. Exposure: 1/1th
  4. Focal Length: 80mm

blakegopnik:

THE DAILY PIC: Think yesterday’s Pic was strange? I’ll give you strange. I caught this new piece by Jordan Wolfson, titled “Female Figure”, yesterday at David Zwirner, a few days before the end of its run. “All” it is is a superbly crafted animatronic sculpture of a woman that dances for a few minutes as you watch, its every motion perfectly matching the motions of a real human being … with pole-dancing skills. (Click on the image to see her – sorry, it – move.) Most eerie of all – what makes it seem utterly alive – is the way its gaze locks with yours and then follows your eyes wherever you go in the room. You’re glad this femme fatale is tethered to her mirror (getting a woman to bipedal around in high heels is still beyond the reach of robotics, as it’s almost beyond the reach of flesh and blood) because if she were free to approach as she pleased, you’d have to take off running. (Note that perfect facial expressions are also beyond robotics, and Wolfson hides that fact by giving his figure a mask.)

Should most of the credit for this piece go to the engineers rather than the artist? Is it just a way-cool piece of tech? Sure – but remember that once upon a time, perspective was “just” a new technology, as were oil paints, but the first examples of their use count as landmark works of art.

I am also perfectly aware of the real and vital feminist issues that our android raises, and her ties to the cheesiest traditions of bad SciFi. But I’m afraid that I can’t keep all that in mind once her hips start swiveling. (Courtesy Jordan Wolfson, David Zwirner, New York, and Sadie Coles HQ, London)

The Daily Pic also appears at blogs.artinfo.com/the-daily-pic. For a full inventory of past Daily Pics visit blakegopnik.com/archive.

Tracey Emin Tracey Emin

Tracey Emin

"Tracey Enim has the best smirk in christendom."
— (via ringtales)
arpeggia:

Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue. arpeggia:

Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue. arpeggia:

Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue. arpeggia:

Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue. arpeggia:

Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue. arpeggia:

Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue.

arpeggia:

Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010

Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.

This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.

This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue.

confessionsofamichaelstipe:

CONFESSIONSOFAMICHAELSTIPE.TUMBLR.COM HAS JUST REACHED 175,000 FOLLOWERS.  I WANT TO SAY THANK YOU!! WITH MY HOMAGE TO THE VELVET UNDERGROUND, ANDY WARHOL, AND MARCEL DUCHAMP.  THIS IS MUCH BETTER THAN TOILET PAPER MAGAZINE.  —MICHAEL STIPE   4.15.2014 

  1. Aperture: f/2.4
  2. Exposure: 1/157th
  3. Focal Length: 4mm

vuls:

David Annesley, Swing Low, 1964

1964! Eat that, Memphis!

newyorker:

Every day on our home page, we share a cartoon based on the day’s events. Today’s cartoon by Mick Stevens: http://nyr.kr/1eAHYPt

Say, What? | David Wiesner: All those cut out images sandwiched between the panes of glass mean something. Those items are a symbolic representation of a set of ideas Duchamp devised. Here is the glossary, if you will, that decodes the images:

The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) -Marcel Duchamp at the Philadelphia Museum of Art

Marcel Duchamp - The Bride Stripped Bare by her Bachelors, Even (The Large Glass) La Mariée mise à nu par ses célibataires, même (1915-23), reconstruction by Richard Hamilton 1965-6, lower panel remade 1985 (via Tate)

itscontemporary:

Kendell Geers - Stripped Bare(2009)
 Glass and steel 277 x 175 x 79 cm 109 (x 68 7/8 x 31 inches.

itscontemporary:

Kendell Geers - Stripped Bare(2009)

Glass and steel 277 x 175 x 79 cm 109 (x 68 7/8 x 31 inches.