Sympathy for the art gallery

pjmix:

Francis Alÿs, Still from Paradox of Praxis 1, (Sometimes Making Something Leads to Nothing), 1997, Video, Courtesy of David Zwirner, New York. (via commentaryfrancisalys)

christopheralexanderolson:

2010

Tiny art or big electric? Looks interesting; more info please?

shanetolbert:

Angelina Gualdoni

Cosmic Painting

2009
oil and acrylic on canvas
34” x 28”

(via dethjunkie)

Tatlin’s momument to the third national, 1919. (It’s reference day today at sympathy for the art gallery.)

hydeordie:

Electroboutique (Aristarkh Chernyshev, Alexei Shulgin in collaboration with Roman Minaev), 3g International, 2010

i-peach-feng-shui:

Bruce Nauman, “The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967.

He is no joke. FYI, this was made in a time before mass self-help movements and new age religions swept the planet. 

nevver:

The True Artist Makes Useless Shit for Rich People to Buy, Art Observed

Meh, I stand by the original.

(via colinoscopy)

niner:

iheartmyart:

Dennis Lin, n° 1-60, 2010

“To see the sections of the tree is to wonder how it grew, how it lived and how it died,” said artist Dennis Lin. “I’ve cataloged this tree out of my own curiosity and to make it accessible for others to question how this organism came into being.”

I like the idea, but knowing so much Hirst makes this project something totally different than you’s probably intended. I would have liked it better if the branches would still be attached; now it just looks like meat. Especially in the warehouse like that.

osso:

Jaap Scheeren

i-peach-feng-shui:

Donald Judd

Metal. But stacked and rectangular as wood. But reflective like water. And imposing as fire. Yet enough metal to have the solidity of earth. All in one great piece of art (or in any great environment of your life) there are the five elements.

datdatdat:

Installation view 01 / 03, Digital Image, C-print, 45 × 30cm

The images in this series are digital renderings, which were created using image references from gallery documentation and found textures. The 3d objects (neon bulbs, euro palettes, stackable plastic chairs, rectangles with car paint) were modeled or found online (digital readymades).The assets were placed in a generic white cube scene and randomly positioned and aligned with a script. The series is a documentation of an installation in an architectural space, neither of which physically existed. (via Installation View / anfischer.com)