thenoguchimuseum:

Portrait of Frida Kahlo found in Isamu Noguchi’s archives, ca. 1930s.
In all likelihood, this photo was taken by Noguchi during the time he was working on his commission at the Mercado Abelardo Rodrigues in Mexico City in 1936.  The pair stayed in touch throughout the 1940s, when Frida made occasional visits to New York for treatments for her ongoing ailments. A framed collection of butterflies hangs above Frida’s bed in the Casa Azul in Mexico City, a gift from Noguchi.  
The Noguchi Museum Archive

thenoguchimuseum:

Portrait of Frida Kahlo found in Isamu Noguchi’s archives, ca. 1930s.

In all likelihood, this photo was taken by Noguchi during the time he was working on his commission at the Mercado Abelardo Rodrigues in Mexico City in 1936.  The pair stayed in touch throughout the 1940s, when Frida made occasional visits to New York for treatments for her ongoing ailments. A framed collection of butterflies hangs above Frida’s bed in the Casa Azul in Mexico City, a gift from Noguchi.  

The Noguchi Museum Archive

lodallanora:

Cy Twombly at home in Rome, by Horst P.Horst for Vogue (1966)

lodallanora:

Cy Twombly at home in Rome, by Horst P.Horst for Vogue (1966)

startbuyingart:

Michiel van der Zanden, Color Solid 2 (2014), olieverf op doek, 60 x 50 cm

Lees hier een interview met Michiel van der Zanden.

KunstKoop: link

Volg ons op Facebook en Twitter en check de updates over We Like Art @ Westergasfabriek via onze website.

  1. Camera: Canon EOS 50D
  2. Aperture: f/7.1
  3. Exposure: 1/250th
  4. Focal Length: 63mm

goodmemory:

Francesco Clemente

via Pink Pagoda Studio

likeafieldmouse:

Christian Marclay - Krak (2007)

Oh damn that’s good.

"Of all the burning issues that need to be confronted about museum culture, our tyrannical notions about appropriate hanging heights would not be first on my list. This is about as twee and self-indulgent as institutional critique gets."
— This is a great takedown of this exhibition: Christopher Williams at MoMA: The Aesthetics of Smartypants - artnet News
blantonmuseum:

Our Monday inspiration is Pari Ehsan, aka @paridust on Instagram, who pairs chic outfits with various artworks and exhibitions. See more of her stunning fashion and art photos on her website. 

brilliant blantonmuseum:

Our Monday inspiration is Pari Ehsan, aka @paridust on Instagram, who pairs chic outfits with various artworks and exhibitions. See more of her stunning fashion and art photos on her website. 

brilliant blantonmuseum:

Our Monday inspiration is Pari Ehsan, aka @paridust on Instagram, who pairs chic outfits with various artworks and exhibitions. See more of her stunning fashion and art photos on her website. 

brilliant blantonmuseum:

Our Monday inspiration is Pari Ehsan, aka @paridust on Instagram, who pairs chic outfits with various artworks and exhibitions. See more of her stunning fashion and art photos on her website. 

brilliant

blantonmuseum:

Our Monday inspiration is Pari Ehsan, aka @paridust on Instagram, who pairs chic outfits with various artworks and exhibitions. See more of her stunning fashion and art photos on her website

brilliant

good:

Micol Hebron, In Decent Exposure: Café (2010). Archival inkjet photograph, 20 inches x 20 inches (framed). Courtesy the artist and Klowden Mann.

Museum Singer in Laren sells replicas of the Rodin ‘thinker’ in several sizes and I think this picture is kind of awesome.

p-dpa:

Another Twenty-Six Gas Stations, Gregory Eddi Jones (2014)

Another Twenty-Six Gas Stations is a new media artist book that blends notions of surveillance, crime photography, advertising and found text. Together these elements form a dark and incisive commentary on an American culture that embraces violent spectacle - real and imagined - as a commercial product.
Fifty-one years after the publication of Ed Ruscha’s iconic artist book, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations examines how the American Identity has shifted from the idyllic media messages and car culture of the 1950s and 60s to the coarse post 9/11 age we occupy today.

See also: Twentysix Gasoline Stations, ver. 2, Parasitic Ventures Press (2010)
p-dpa:

Another Twenty-Six Gas Stations, Gregory Eddi Jones (2014)

Another Twenty-Six Gas Stations is a new media artist book that blends notions of surveillance, crime photography, advertising and found text. Together these elements form a dark and incisive commentary on an American culture that embraces violent spectacle - real and imagined - as a commercial product.
Fifty-one years after the publication of Ed Ruscha’s iconic artist book, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations examines how the American Identity has shifted from the idyllic media messages and car culture of the 1950s and 60s to the coarse post 9/11 age we occupy today.

See also: Twentysix Gasoline Stations, ver. 2, Parasitic Ventures Press (2010)
p-dpa:

Another Twenty-Six Gas Stations, Gregory Eddi Jones (2014)

Another Twenty-Six Gas Stations is a new media artist book that blends notions of surveillance, crime photography, advertising and found text. Together these elements form a dark and incisive commentary on an American culture that embraces violent spectacle - real and imagined - as a commercial product.
Fifty-one years after the publication of Ed Ruscha’s iconic artist book, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations examines how the American Identity has shifted from the idyllic media messages and car culture of the 1950s and 60s to the coarse post 9/11 age we occupy today.

See also: Twentysix Gasoline Stations, ver. 2, Parasitic Ventures Press (2010)
p-dpa:

Another Twenty-Six Gas Stations, Gregory Eddi Jones (2014)

Another Twenty-Six Gas Stations is a new media artist book that blends notions of surveillance, crime photography, advertising and found text. Together these elements form a dark and incisive commentary on an American culture that embraces violent spectacle - real and imagined - as a commercial product.
Fifty-one years after the publication of Ed Ruscha’s iconic artist book, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations examines how the American Identity has shifted from the idyllic media messages and car culture of the 1950s and 60s to the coarse post 9/11 age we occupy today.

See also: Twentysix Gasoline Stations, ver. 2, Parasitic Ventures Press (2010)
p-dpa:

Another Twenty-Six Gas Stations, Gregory Eddi Jones (2014)

Another Twenty-Six Gas Stations is a new media artist book that blends notions of surveillance, crime photography, advertising and found text. Together these elements form a dark and incisive commentary on an American culture that embraces violent spectacle - real and imagined - as a commercial product.
Fifty-one years after the publication of Ed Ruscha’s iconic artist book, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations examines how the American Identity has shifted from the idyllic media messages and car culture of the 1950s and 60s to the coarse post 9/11 age we occupy today.

See also: Twentysix Gasoline Stations, ver. 2, Parasitic Ventures Press (2010)
p-dpa:

Another Twenty-Six Gas Stations, Gregory Eddi Jones (2014)

Another Twenty-Six Gas Stations is a new media artist book that blends notions of surveillance, crime photography, advertising and found text. Together these elements form a dark and incisive commentary on an American culture that embraces violent spectacle - real and imagined - as a commercial product.
Fifty-one years after the publication of Ed Ruscha’s iconic artist book, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations examines how the American Identity has shifted from the idyllic media messages and car culture of the 1950s and 60s to the coarse post 9/11 age we occupy today.

See also: Twentysix Gasoline Stations, ver. 2, Parasitic Ventures Press (2010)

p-dpa:

Another Twenty-Six Gas Stations, Gregory Eddi Jones (2014)

Another Twenty-Six Gas Stations is a new media artist book that blends notions of surveillance, crime photography, advertising and found text. Together these elements form a dark and incisive commentary on an American culture that embraces violent spectacle - real and imagined - as a commercial product.

Fifty-one years after the publication of Ed Ruscha’s iconic artist book, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations examines how the American Identity has shifted from the idyllic media messages and car culture of the 1950s and 60s to the coarse post 9/11 age we occupy today.

See also: Twentysix Gasoline Stations, ver. 2, Parasitic Ventures Press (2010)

(Source: another26.com)

theblacksquare:

Portrait of Rainer Maria Rilke, 1906 | Oil tempera on cardboard | 32,3 × 25,4 cm | Paula Modersohn-Becker [Es] [Pt] [Ru] [Ja]

Paula Modersohn-Becker [February 8, 1876 – November 21, 1907] was a German painter and one of the most important representatives of early expressionism. In a brief career, cut short by an embolism at the age of 31, she created a number of groundbreaking images of great intensity.

Swann Galleries, Old Masters through Modern Prints, Oct. 30th

Sale 2328 Lot 376

HENRI MATISSE 
Masque au Petit Nez

Aquatint, 1948. 432x346 mm; 17x13 5/8 inches, full margins. Artist’s proof (there was no published edition). Signed and inscribed “Essai” in pencil, lower margin. A superb impression of this exceedingly scarce print. 

Duthuit notes only two artist’s proofs, both signed in pencil lower right. Duthuit 798.

Estimate $20,000 - 30,000

(Source: laurgold)

  1. Camera: Hasselblad H3D II-39
  2. Aperture: f/22
  3. Exposure: 1/125th
  4. Focal Length: 90mm
nevver:

Nobody wants to be here and nobody wants to leave, Grant Haffner nevver:

Nobody wants to be here and nobody wants to leave, Grant Haffner nevver:

Nobody wants to be here and nobody wants to leave, Grant Haffner nevver:

Nobody wants to be here and nobody wants to leave, Grant Haffner nevver:

Nobody wants to be here and nobody wants to leave, Grant Haffner

nevver:

Nobody wants to be here and nobody wants to leave, Grant Haffner

artistandstudio:

Frantisek Kupka, self-portrait