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as per artnet : A sculpture by Dennis Oppenheim proposed for the Stanford University campus in California has proved itself too controversial for Stanford president John Hennessy, who cancelled the commission after complaints from the school’s dean for religious life. The 25-foot-tall sculpture, called Device to Root Out Evil, is a latticework church that has been turned upside-down and stuck into the ground by its steeple; a version of the work was presented at the 1997 Venice Biennale. A Stanford alumnus, Oppenheim says the cancelled commission has cost him "$100,000 easy." The work "really did root out evil in a strange, circuitous way," Oppenheim told the "Stanford Daily." The president and others have conservative views and are afraid of a work of art, and now we know about it."


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moma rethinks design collection / less tiff more kev


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inconvienent evidense: iraqi prison photographs from abu ghraib

this show consists of twenty amature digital cellphone, digital camera and digital video still images taken from the internet

Chief curator Brian Wallis and director Willis Hartshorn of the International Center of Photography discuss their current exhibit with Leonard Lopate.


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The Skyscraper Museum

Frank Llo
yd Wright: The Vertical Dimension

October 6, 2004 - January 9, 2005




The first comprehensive examination of the high-rise designs of America’s foremost architect, Frank Lloyd Wright: The Vertical Dimension, examines Wright’s abiding interest in the re-invention of the tall building. Over the course of his long career, Wright designed a dozen high-rise buildings of which only two were built--the Johnson Research Tower in Racine, Wisconsin (1944), and the Price Tower in Bartlesville, Oklahoma (1952-56). With these designs, Wright proposed a new structure for the skyscraper, challenged prevailing building practices with his use of materials, and proposed new directions in high-rise living.

special thanks to selma
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soul on to
p


On this 1969 recording, Soul Brother #1 makes no secret of his love of jazz — and his own phenomenal gifts as an improviser. In collaboration with Louie Bellson, one of jazz’s most impressive drummers and one of its most expressive arrangers, Oliver Nelson, Brown tears through jazz standards and gives his own hits a new twist.


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port authority terminates terminal five show

via selma
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pod-life


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RCM



rcm upper mez 3rd row from the back waiting for wilco (vote for kerry) to come on via julies cell phone and sprint picture mail sm, one sprint, many solutions. and i forgot to thank mercedes-benz.




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3

(figure 3) Vernacular farm building from Tras-os-Montes region of Portugal

"Paulo Varela Gomes, in his brief but excellent synopsis of Portuguese architecture, has called the thinking reflected in this book a "metaphysic of the relation between work and life. The vernacular is seen as the unmediated and, shall we say, prelinguistic product of life and its conditions. I would again bring to mind Rosenberg's idea of "American action painters"  whose work did not represent the being of the artist so much as it was an unmediated trace, or record of the artist's life in action. These buildings are like tools, transparent to their human task (figure 3). They bear the logic that brought them into being: the task to be performed, the hand that will need to grip them, and indirectly that aspect of the society reflected by the very existence of the need to perform that task to which the tool is dedicated. The sign is not yet broken into the arbitrary relationship between the signifier and the signified. "



alvaro siza



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