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What we believe shapes who we are. Belief can bring us salvation or destruction.
Altered Carbon | 1x08
Today is the 20th anniversary of the death of English film director, stage designer, artist, gardener, author, and active advocate for gay rights, Derek Jarman. Considered one of Europes greatest independent film-makers, he died on the 19th of February 1994, after a six-year battle with AIDS. In his films Jubilee (1977) arguably the first UK punk movie, The Tempest (1979) and The Angelic Conversation (1985), Jarman presented his interpretation of the Elizabethan Age through the exploration of alchemical imagery, while in...
Eine neue Aktion Still not lovin Gentrification! bringt die Diskussion um bezahlbaren Wohnraum in Berlin wieder zum Laufen. Dafr wurde nachts von unbekannten ein Neubau eines Investors im Wedding mit Farbe dekoriert, der mblierte Apartments an Studenten vermietet. Die TOY Crew hat die Aktion bei Facebook gepostet. Video und Bild: Robert Musil / Video Screenshot Seit einigen Jahren entstehen in den Grostdten immer mehr Wohnungsneubauten, deren Wohnungen zu teureren Preisen als die ortsbliche Miete als mblierte Apartments vermietet werden.
Der Beitrag Still not lovin Gentrification! Diskussion um bezahlbaren Wohnraum in Berlin erschien zuerst auf URBANSHIT.
Working in an officeeven if that office is in your homecan be monotonous. Day in and day out, you see the same desk, computer screen, and stationery supplies; you might even grow an unlikely attachment to your stapler. But just because you see these things for 40+ hours a week doesnt mean you have to be at odds with them. Fun office supplies will make even the drabbest work days better.
Simply changing the items you display in your workspace can make it feel more personal. Weve found a bevy of small office decor ideas that will not only keep your desk tidy but enliven it with playful items. One way is with the Big Wooden Cat Pile. Its often marketed as a reverse-Jenga-style game, but when its not in use, you can arrange the cats in many gravity-defying combinations.
Weve also selected objects that put the fun in functional. One of our favorites is a set of 12 pens that look like blades of grass; display them together and youve got a small meadow on your desk. And if youre the type thats always forgetting something, let Morris the donkey help you. Hes a desktop notepad that keeps small slips of paper in his back and whose head is a clip; just store your latest reminder between his snout and you'll be on time for that Skype call.
Get make your office feel like a home away from (even if you work from home) with these creative products.
Ronaldo Schemidts Venezuela Crisis is one of the nominees of the 2018 World Press Photo Contest. The image depicts Jos Vctor Salazar Balza (28) catching fire amid violent clashes with riot police during a protest against President Nicolas Maduro, in Caracas, Venezuela. (via World Press Photo)
The curious thing about the readymade is that Ive never been able to arrive at a definition or explanation that fully satisfies me. Theres still magic in the idea . . . .
Signaling through the flames, Florine Stettheimer lit it up with her posthumous retrospective last year at New Yorks Jewish Museum. We Will Wait (2014-2017), Serkan Ozkayas reverse camera obscura, at Postmasters, eerily veiled Duchamps regaled Etants Donns in a 21st-century iteration, though its peephole FX proved a smidge too ghostly. Now, in Hi-Def, the 100-year anniversary, full-scale facsimile boxed set of Duchamp & Co.s three towering little magazines premieres. The Blind Man, plus RONGWRONG, with Man Rays The Ridgefield Gazook.
I would rather wait for a public that will come fifty years a hundred years after my death.
Opulently inked on top-shelf stock, as an objet it is the veritable Grail of art-cult fetishists. Gazette, galoot, gadzooks! Its a thing of beauty. (Un)covering art from nude to Bride, behold the hand of glory.
Gabrielle Buffet-Picabia called Walter and Louise Arensbergs notorious New York salon (1915-21) an inconceivable orgy of sexuality, jazz and alcohol. From their lair, these zines leapt, to entertain artists and educate the public.
For the invitation to Mina Loys New York exhibition, Duchamp hand-wrote, Minas poems have two dimensions: high relief and low life. Her beau, Arthur Cravan, lit the fuse on Dadas bottle. Totally smashed, he fueled the will to make life into art so furiously that he became a boxer.
Anything to devalue my signature.
Grab it and growl. Edited and effusively introduced by Sophie Seita, with translations by Elizabeth Zuba, thankfully available at last from Ugly Ducklings Lost Literature Series.
Entropy measures the lack of ener...
Self-proclaimed photon-packing mixed photographer Craig Burrows continues to captivate with his unique series of floral illuminations. Captured using cameras modified for ultraviolet-induced visible fluorescence, the fanciful photographs showcase Burrow's ability to turn ordinary flora into beaming blooms.
To create each dazzling depiction, Burrows imaginatively employs a filtered 365nm LED light and a special lens (found, he explains, in kits typically used for crime scene investigation). This Technicolor treatment brings out the flowers natural fluorescence, as it only conveys ultraviolet and infrared light. This results in an ethereal aesthetic, making everything from pollen and petals to stamens and stems spectacularly glow and glisten.
To further enhance his subjects, Burrows sets the fairytale-esque flowers against stark black backdrops. On top of making the images' outstanding hues even more dramatic, the monochromatic backgrounds ensure all eyes will be on each fantastic flower.
The great paradox of the soundscape as musical mode is that the best background music is also the best music for full immersion, for completely saturating the senses and diving into a deep, rich, enveloping ocean of sound. The albums reviewed below illustrate this dictum with varying degrees of sublimity. Except for Jlin Jlins too noisy to recede into the background. She demands your attention.
Jlin: Black Origami (Planet Mu)
Subgenres of instrumental electronica evolve fast, and while Jlin is footworks most prominent name alongside the late DJ Rashad, her second album sounds like a departure. Layering a dazzling array of auxiliary sound effects onto the genres crisp, rattling syncopated drums, these tracks are the product of a gloriously overstuffed sonic imagination.
Jlin named her superb 2015 debut Dark Energy, a fitting title: streamlined and fluid, constantly moving, a polished whirl of silvery snares and amelodic keyboards and kinetic motion. Black Origami describes the sequel aptly as well, as this is music of a stunning intricacy. Denser and splatterier, faster and more hyperactive, her sonic ornaments inhabit a nearly baroque level of detail.
The drums, alternately bitingly metallic, briskly clangy, sharp and tinny or deep and echoey or tensely jittery, stretch across a wide range of textures to produce a sense of being always on ones feet, always morphing into new patterns, bouncing around in tightly demarcated spaces. Pitched percussion effects provide tonal variety, but melody isnt the focus. Rather, dissonant sirens fade in and out, simulated evocations of voices blabbering or mosquitoes whining, chopped up into a million tiny little sonic pieces and arranged with exquisite balance over the churning sea of rhythm.
Enigma clatters and springs as snippets of human shouts ring out over the track, both interrupting and interrupted by the drums; Kyanite deploys similarly spliced shrieks and buzzes, like a quartet of air-raid sirens out of tune, over a drum track so acutely polymorphous its as much Indian classical as Detroit techno. The result is a giant, awe-inducing, inordinately complex machine hissing and sizzling, gears churning, teeth crunching, yet performing its function, whatever that may be, with maximum efficie...
Robert Grosvenor, Untitled (2016), plywood, aluminum, steel, fiberglass and Plexiglas, estimated dimensions 84 x 360 x 240 inches (all images Robert Grosvenor, courtesy Paula Cooper Gallery, New York, photos by Steve Probert)
Patience is a word that critics and curators often use when dealing with Robert Grosvenors work. The viewer needs to be patient in order to begin to fully experience it. This is how Anne Rochette and Wade Saunders put it in their article on Grosvenor, Plain Seeing, that appeared in Art in America in October 2005.
His work is not harder to perceive than other sculpture; it is harder to see, and takes time.
It seems that Grosvenor is also patient when it comes to making the work. According to Rochette and Saunders:
Grosvenor advances slowly; he has completed 18 sculptures and around 35 small drawings and collages since 1975.
This averages out to about one sculpture every two years.
I think another word that could be used to describe Grosvenors work, but one that observers are understandably reluctant to bring into the discussion, is mystifying. We see concrete blocks, fiberglass, steel posts, a table-like structure, plywood, Plexiglas, paint and steel tubing all commonplace materials. Grosvenor does not disguise what he uses, and what he does with his materials is straightforward. He is not trying to wow viewers with his means of production. In fact, he shares almost nothing with other sculptors working today: He has not branded his work, nor has he made variations on a theme.Detail, Robert Grosvenor, Untitled (2016), plywood, aluminum,...
On the 18th of February 1885, Mark Twains The Adventures of Huckleberry Finn was first published in the United States. Twains picaresque novel set in the 1840s, is about a young boy called Huck who runs away from home and floats down the Mississippi River. On his way he meets a runaway slave Jim and the two undertake a series of adventures, which slowly change Hucks views of bigotry. He begins to distinguish right from wrong, and is ult...
The Force theme, also known as Ben Kenobis theme, Obi-Wans theme, or May the Force Be With You, is one of the most beloved of John Williams music for the Star Wars saga. It appears in all of the films, but perhaps most memorably in the Episode IV: A New Hope, when Luke contemplates his future while watching a pair of suns set on the horizon. [source]
One Minute Art History is an animated short film by artist and educator (hes a teacher at the China Academy of Art) Cao Shu. First released in 2015, the video takes viewers on a dizzying journey through various paintings and styles throughout history.
There are many choices you can make when you begin to learn how to paint. The most basic is the kind of paint you're going to use; three of biggest types are watercolor, acrylics, and oils. While it's easy to distinguish the differences between watercolor paint versus acrylics and oils, it's trickier to understand what separates the other two. They are often packaged in similar-looking paint tubes, but they have many differences. If you're unsure of which paint you'd like to try, we'll break down those differences, look at acrylic vs oil paint, as well as ways to hone your skills.
Though they look similar when squeezed out of a paint tube, there are fundamental differences in how the two paints are constructed.
Oils, in the art history sense, are classic. They were first developed in the 12th century and were used to create some of the most iconic paintings in history like the Mona Lisa and Van Gogh's Starry Night. The chemical composition features pigments that are suspended in oil (typically linseed). While timeless, they require a little more work to clean and maintain; they are not compatible with water, and so to thin or clean them, you'll have to use turpentine or white spirit.
Acrylics, on the other hand, are much younger. They were first made commercially available in the 1950s and feature pigment suspended in acrylic polymer emulsion. Unlike oils, you don't need any special chemicals to thin acrylicsjust water will do. This aspect makes them great for beginners.
Kate Kretz, Cri de Cur (Heart Cry) (2018, after a detail of Scne du Dluge, 1827, by Joseph-Dsir Court), graphite on paper, 14 x 11 inches (courtesy of the artist)
the bitter dusty old men
of the battle they shoulda won at Gettysburg
showing Daddy they could be a man
(in the street at High Noon)
the young ones (who cant get laid)
Duke Nukem from Bulletstorm Full Clip
(in overkill mode, for extra points)
finds a people-killing machine
fast and hard
to finally feel something
Make their mark.
must forever wade in the nightmares that
might be the next collateral damage
yet another lost mans
Judith Bernstein, President (2017), acrylic and oil on canvas, 90 x 89 1/2 inches (all images courtesy the artist and Paul Kasmin Gallery)
People pay to watch a real fuck. In the heyday of Times Square porn the money shot was developed to prove that the sex-on-film was real and not simulated. The proof? Cum. The (male) ejaculation onto the body of his co-star.
In her debut solo show at Paul Kasmin Gallery, Judith Bernstein unveils Money Shot, a series of large-scale paintings starring the Trump administration, its horrific present and terrifying potential future.
The gallery is outfitted with blacklight, which alters the paintings even during daytime hours. The works glow orange, green, violet, and acid yellow against pitch black. The unstable colors signal that nothing will ever look or be the same as it was before.
But, this isnt the dark of night. This place is tinged with psychedelia. The distortions border on nauseating. The room spins as we stand still. We oscillate between terror and gut-busting laughter, as we witness what we once deemed unimaginable.Judith Bernstein, Money Shot Blue Balls (2017), acrylic and oil on canvas, 104 x 90 1/2 inches
Our eyes adjust at different speeds to the dark. There are those who are paralyzed and shocked, who expect a glowing exit sign to magically turn on. There are others who shut their eyes and...
All images installation view of The Canyon: 1999-2017, courtesy Contemporary Arts Center, copyright Tod Seelie
CINCINNATI, Ohio The Canyon: 1999-2017 at Cincinnatis Contemporary Arts Center (CAC) marks the first career survey for street artist Caledonia Curry, better known as Swoon. The exhibition, which strings together elements of her practice from 1999, when she began wheatpasting in public spaces while still an undergrad at the Pratt Institute, to her most recent bodies of work, creates a sumptuous and immersive visual experience.
Typical of Swoons museum projects, The Canyon features a site-specific, multi-gallery installation (of the same name) that dominates its first half. Upon entering, you pass into a constructed space made from found doors, panels of construction walls, and aluminum siding, all of which are completely covered with the artists rich drawings and papercuts, derived from her observations of the living cityscape that was New York between 1999 and 2005.
The installation provides a sense of Swoon progression, as she moved beyond the views of New York and integrated more global images in her work. For instance, the far corner of the first gallery is littered with images from her 2005 exhibition at Deitch Projects that focus on the squalor of the Hong Kong slum Kowloon Walled City, which was demolished in 1994. Yet while the 2005 show focused on poverty in one particular part of the world, here, drawings of Chinese street children literally run into New Yorkers wandering around their own home, suggesting that the squalor of both locations is shared.
Globalism remains a constant of Swoons practice through the rest of the installation The Canyon, which includes images from her exhibitions over the last decade or so, taking her all over the world. Her style of images that comprise her installations is remarkably consistent; many of her works portray highly individuated people a young Asian woman resting her head in her hand; another young woman adjusting her hijab; two of her close friends and collaborators, Alixa Garcia and Naima Penniman, in an embrace. Their bodies are transformed into other images, be they cityscapes, nature-scapes, or supernatural entities. For The Canyon, several such images many of which were conceptualized for other individual street art or sit...
In response to the plastic waste issue in the Colombian Amazon, Spanish designer Alvaro Cataln de Ocn began the PET Lamp Project in 2011a design venture with the aim to reuse PET plastic bottles. Over the last five years, the eco-conscious designer has worked with traditional craft communities from all over the worldincluding Colombia, Chile, Japan, and Ethiopiato turn plastic waste into a growing collection of beautiful, handmade PET Lamps. Inspired by Aboriginal art, Cataln de Ocn recently traveled to Arnhem Land in Australias Northern Territory, to work with eight indigenous Yolngu weavers.
As with his previous projects alongside traditional crafts people, Cataln de Ocn arrived to BulaBula Arts Centre in Ramingining without a predetermined plan for how the lamps would look. Instead, he gave freedom to the talented weavers who began to produce large structures inspired by traditional Yolngu mats. Made from naturally dyed pandanus fibers, the resulting suspension lamps with characteristic fringes incorporate the PET plastic bottles as the center points of their circular woven designs.
The vibrant, sunshine hues were made from boiling natural ingredients and pigmentssuch as ash and eucalyptus barkand then leaving the dyed leaves to dry in the sun. Each individual mat was then woven together into two larger lampshades, mirroring the bond between people of the same clan. Cataln de Ocn explains, The two masterpieces turn into a complex, harmonious merge between Aboriginal kinships, weaving technique, topographic elements, and design.
If youre in Australia, you can see the the latest PET Lamps for yourself at the National Gallery of Victoria Triennial, on display until April 15, 2018. You can also find out more about the project via the PET Lamp website.
Luisa Rabbia, Birth (2017), colored pencil, acrylic, and fingerprints on canvas, 108 x 202 inches, photo by Dario Lasagni (courtesy of the artist and Peter Blum Gallery)
In these times of stridency and shrillness, how are works of art that speak with the softness of rustling chiffon in an overheated parlor ever to be heard amid a din of protest, propaganda, real news, fake news, politics-as-spectacle, or the staged, self-serving confessionals-as-entertainment that have become a mainstay of the medias mind-numbing echo chamber?
At its best, some art can or should provide both a potent response and a soothing antidote to the noise, offering the refuge and sanity of its inherent truths while reaffirming what is most abiding, essential, soulful, or noble about the members of our big, bungling, forever searching human family (or one might just settle for something nurturing or common-sensical).
Now, with Love-Birth-Death, a distinctive and, for any contemporary art-maker, unusually magisterial series of large-scale paintings, the Italian-born, Brooklyn-based artist Luisa Rabbia has addressed some of this or any eras biggest themes, humanitys most enduring, universal mysteries. To take on the task of representing our sense of wonder in the face of them is to try to give tangible form to the ineffable.Luisa Rabbia, Death (2017), colored pencil, acrylic, an...
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