Sympathy for the art gallery

ryanbarone:

RUSCHA’S MUSTACHE IN ‘72, 2010

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(via christopheralexanderolson)

Yves Klein Suite in progress.

artlistpro:

Brad Tinmouth
Artforum Ad
2010

“I didn’t know whether I should spend money on grad school or this ad in Artforum. Welp.”

via knitzilla, theories-of.

tobia:

juliusseizure:

David Hatcher - The simplest surrealist act ( Andre Breton) 

screenprint on plexiglass  2002

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via williampowhida.com

If Powhida’s rant about Work of Art:The Next Great Artist had any magickal effect, it would be that a blogger micro-shitstorm in NYC ensued and thus, I (and I would assume others) have discovered and are now tumbling his work.

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towerofsleep:

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HALF GALLERY

MILES MENDENHALL 

August 24—September 14, 2010 
Opening reception: Tuesday, August 24, 6-8 p.m.

Well, well, well….

I kinda think a show at Half Gallery might be better than Abdi’s show at the Brooklyn Museum.

Abdi has the super-genuine, unpretentious, aspiring to be a better person, nice guy who can draw but isn’t conceptually-solid thing going on. Which NEVER rarely wins in the art world IRL. Miles has a persona to work with and can talk a mean “conceptual” game, so naturally, a shoo-in for a show; I liked most of his work best.

… and I like these even better.

iheartmyart:

Man Ray, Compass, 1920, The Metropolitan Museum of Art, New York

Before leaving Paris for New York in 1921, Man Ray made several constructions that questioned the authority of logic and science over the imagination. This quirky instrument, which he called “Compass,” was one. The fields of force to which it might respond are as erratic and potentially as destructive as a game of Russian roulette. After making the exposure, Man Ray characteristically disassembled the magnet-and-pistol device, leaving only this single original print as the reminder of a provocative Dada idea. It is “purely cerebral yet material” (as Man Ray said of Marcel Duchamp’s “Large Glass”), whimsical yet deadly earnest. (via MET)

jillsies:

marycaple:

agnès b.’s early sketches

I love Agnes B clothes. I’m wearing some right now.

iheartmyart:

Sigurdur Gudmundsson, Fairytale, 1979

Oldie but goodie.

dihard:

“Things that are made from organic material age and decay, especially when they stop being alive. A piece of home-baked bread, say, left on your kitchen counter, will get moldy relatively fast. Lord knows what some ground beef would smell like after a week. But the artist Sally Davies has been photographing one McDonald’s hamburger and fries every day for 137 days. They look basically exactly the same.” via GOOD

I’m confused; is this good or bad?

sexartandpolitics:

Debbie Grossman - Jessie Evans-Whinery, homesteader, with her wife Edith Evans-Whinery, 2010
From the series My Pie Town

In the spring of 1940, Russell Lee wrote to his boss at the Farm Security Administration, Roy Stryker, proposing to spend several weeks shooting Pie Town, New Mexico, a small settlement of homesteaders near the western edge of the state. […] In this work, I take a selection of Lee’s beautifully-photographed body of images and re-imagine, revise, and reconstruct them using Photoshop. The archive I have created resembles Lee’s with an important difference – in My Pie Town, the rag-tag community of homesteaders is populated exclusively by women.

In some of my revisions, I have taken male bodies and rendered them to look like masculine women; in others, I have taken pairs of women, shifted their distance and body language, and brought them closer to create a sense of intimacy. In some of the pictures I have created women so masculine, or so ambiguously gendered, that they may not, for some viewers, clearly read as one gender or the other. I’ve also left a few images untouched, allowing for another dimension of re-reading Lee’s work.

I LOVE THIS. LOVE LOVE LOVE.

via kusamapyjamas:sexuality-space

hyperallergic:

Man Barlett, “#24hCycle” (2010), screenprint on cover stock, ed. of 30, $20

Barlett uses this prints to fund his popular social media-reliant performance pieces, which have taken place at the 2010 Whitney Biennial, the “#class” exhibition, Flux Factory and elsewhere.

breeapperley:

1949 TIME-LIFE chart part a (by scleroplex)

breeapperley:

1949 TIME-LIFE chart part b (by scleroplex)