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sottsass, mau on charlie rose tonight


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SAVE 2 CC


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8) "BEFORE THE END (THE LAST PAINTING SHOW)" Curated by painter Olivier Mosset, this show at the Swiss Institute in New York last month revolved around the idea that many conceptual artists were once abstract painters producing minimal, often monochromatic work. It wasn't the blank surfaces of these "last paintings" that attracted me, though, but the feeling of nostalgia they inspired. Standing in the gallery I thought of all the "last times" in my life that I'd registered too late. I kiss a friend goodbye on the street corner after spending the afternoon together watching bad movies, and it's not until much later that I think, "Wow, that was the last time I ever saw him."


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via brian


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d-lux


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1st surfers

legendary surfers

a definitive history of surfing's culture and heros


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surfwriter


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our t-shirt


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hotdogger dewey webber

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rat rod


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found


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radiator shame. this old house is heated by radiators and lots of them. we keep the heat at about 78 degrees day and night because of the tenants. is that warm enough ? even still, i keep some of my windows cracked open for comfort and ventelation. there are victorian period painted metal radiator covers for every single radiator in this house. many with female cameo design accents. the tenants seem to like them as they compliment the rest of their apartments period details. I took my covers out however and stored them in the basement. our esthetic is to remove the paint from all radiators and heat pipes. that is let the metal read metal. just as we let the hard wood floors shine through and the plaster and lath ceilings and walls be painted bright white and plaster like. i just fitted out my ceiling medallions with individual bare 100w light bulbs. and we kept the old linoleum kitchen floors.
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theres been a major onslaught of news coverage of tanaguchis new moma expansion. i like it alot, but i think the real story is their redoubled effort to position moma as a luxury brand retail outlet. their once humble bookstore seems to have suddenly come up to speed with its highhat fifth avenue neighbors : Rolex, Harry Winston, Bergdorfs, Tiffany, Burberry, Hermes, Cartier...


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trailer man


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HOT L Alaia


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appalachian walkman


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if you lived in jersey city


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photo image
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"For fools rush in where angels fear to tread"


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Thats the Accuplaylist. Accu stands for accurate and playlist stands for playlist.


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studio gluckman


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"A home makeover-style TV programme in Iraq that offers needy families the opportunity to have their war-damaged homes re-built from scratch has become a massive hit."


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"The city has grown up since the Modern shut its doors to build its new home two and a half years ago. The hole left by the twin towers. A war in Iraq. A polarized electorate. Our culture is in a crisis as critical as any since the cold war period when Modernism reached its final, exuberant bloom."


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It sounds like a gnomic paradox, but the concept of invisible architecture translates into a constellation of expensive decisions. Riley pointed to a black granite wall whose panels are so large and meticulously aligned that the joints all but vanish, creating the effect of a seamless curtain. "When the light hits it a certain way, it looks like velvet," Riley says. "This is architecture that's all about hiding itself."



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media


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Neo York


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cool cole



nellie lutcher



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zora neale hurston


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boards of canada


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concrete comedy


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Hard Choices but No Overall Plan on 9/11 Rebuilding

still no tenants for #7 wtc or the freedom tower


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...more cowbell...


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naked airport



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"A former Yale University architectural student sued the designers of the World Trade Center site's planned Freedom Tower on Monday, saying the designs for the skyscraper violate copyrights of those he created at school. "


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rothko


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After the highly successful sale of art and objects from Damien Hirst's London restaurant, the Pharmacy, at Sotheby's in London last month, it was interesting to see how his works would fare. Mr. Mugrabi was selling one of the Mr. Hirst's classic dot paintings, "Amodiaquin'' (1993), estimated at $500,000 to $700,000. Many collectors who felt they had perhaps missed out at the Pharmacy sale were obviously even more set on shopping last night. The painting sold to an unidentified telephone bidder for $848,000, a record for a painting by the artist.

One of the evening's biggest casualties was when Gerhard Richter's "Three Sisters,'' a 1965 photo-based painting failed to sell. Despite its pristine provenance - the seller was Lew Manilow, the Chicago collector - there wasn't a single bid.

While Mr. Richter's photo-based painting went unsold, some photographs sold for particularly high prices, perhaps given the success of Phillips, de Pury & Company's sale of contemporary photographs put together by Baroness Marion Lambert, a well-known collector. A 1980 photograph by Richard Prince, "Untitled (Three Women Looking in the Same Direction),'' sold to an unidentified collector for $736,000, more than twice its $350,000 high estimate and a record for a photograph by Mr. Prince.


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starck raving


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catalano pavilion NCSU


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design by committee


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rural studio at crossroads


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Private Sector, Public Good: The Necessity of Economic Sustainability in Architectural Activism


"The most successful solutions to the problem of disenfranchisement empower individuals to be self-sufficient; self-sufficiency halts these problems' cyclical nature. It is less often recognized that service organizations also require self-sufficiency. Currently, work for the homeless and displaced is ghettoized to the nonprofit, volunteer, and governmental sectors. It depends upon the delegation of federal money, foundation grants, and private philanthropy; organizations purporting to catalyze self-sufficiency are themselves dependent on charity. Funding runs out, services are cut, and design quality suffers along with the poor and displaced. A solution to this problem lies in the collaboration of the nonprofit and private sectors. They can benefit from each other's strengths and create new business models for architects to address the needs of the disenfranchised."


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i love you


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apartmentratings


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texas arrow heads


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quincy jones and bill cosby jam new mixes vol.1


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piano approved for whitney expansion


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for rent JC apt - great space for an artist


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modding


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"The first building that the Museum of Modern Art put up for itself, in 1939, wasn’ sumptuous, like the Met, or extravagantl sculptural, like the Guggenheim, two decade later. It was a crisp, blunt box. Philip L Goodwin and Edward Durell Stone’ International Style architecture was defiantl austere—a retort to the idea that museum should resemble grandiose palaces. The whit marble building burst out of a row of gentee brownstones on West Fifty-third Street, forcin its way into the Manhattan cityscape. It was matter of pride that the new building looke nothing like its neighbors


The museum’s idiosyncratic appearance was always a bit of a pose, however. Though the building’s original design emphasized its difference from the old architecture around it, the ultimate goal of the Modern’s curators was to make all the old stuff go away. In 1951, a new wing by Philip Johnson was built along the museum’s western edge, and in 1964 another, larger Johnson addition appeared on its eastern flank. The Modern grew again in 1984, with a new section by Cesar Pelli, who also designed a companion fifty-two-story apartment tower. And with the opening, this month, of the largest expansion yet, a four-hundred-and-twenty-five-million-dollar addition and renovation by the Japanese architect Yoshio Taniguchi, the Modern has pretty much taken over the block. The museum stretches along Fifty-third Street from just west of Fifth Avenue to just short of Sixth, and it reaches north to cover most of Fifty-fourth Street, too. You couldn’t ask for a clearer symbol of how modernism has moved from the cultural fringe to the mainstream. Not only has it been years since the art at the Modern has challenged anyone—its Matisses and Pollocks are beloved by all—but Taniguchi’s strict geometries of stone and glass feel as conventional as a Doric colonnade."


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dr leslie and the composing room


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cartcolors

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trailer torrent


thanks dave
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"If you're interested in buying a Neutra, Lautner or Schindler in Southern California - or any house designed by a high-profile architect, for that matter - be prepared to stand in line and to pay top dollar."



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team parrino


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corridor

via studio 360
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mystery power boost ("cleaning event" credited)


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tree pit guards



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we have two golden rain (Koelreuteria paniculata) trees going in today


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wfmu nyc record fair this weekend


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conservation resources

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whats a barking moonbat ?


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On the unsurprisingly pious eulogizing of Jacques Derrida who died last month at 74.


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weedpatch camp


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the nyt has an interactive (read: cannot link to) election map of the us by county. its in the far right column headlined "campaign 2004" right under those two grinning shitbirds - click *graphics* - various sized red and blue circles tell an american story


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dark hallway


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knocked off


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"What to put where? Sherrie Levine would put seventy-five pairs of small shoes, sized for a child but styled for a man, on sale at the Three Mercer Street Store. That she had found them at a California job-lot sale hardly mattered. Artists could work through any economy, the thrift economy too. The money economy proved more difficult. Levine made a series of silhouettes taken from the penny, the quarter, and the new half-dollar coins, painting the presidents so that they faced each other flatly fluorescent on small sheets of graph paper. Happily parodying D.H. Lawrence, she called them Sons and Lovers. Douglas Crimp included them in the group show he curated at Artists Space in the fall of 1977. He called it "Pictures." "Pictures" also announced a twenty-six-second film loop by Jack Goldstein called The Jump, in which he had altered some stock footage so that one saw only a human silhouette filled with a light effect repeatedly run, jump, and dive, piking stylishly off the end of an unseen board into perfect d arkness that, like a psychedelic reflex, swallowed it whole. Crimp highlighted it in his catalogue essay. In hindsight The Jump looks like a pure description of a professional situation."


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. . . a resident six year old required to know why I spent so many consecutive evenings at the bench with a film that was not my own. Because I don't understand it, I said, and he answered: 'You're not supposed to *understand* films, you're only supposed to *make* them.' It is as remedy for some such jejune superstition, I suspect, and as prophylaxis against the syndrome of manipulated, insentient valorization which it masks and sustains, that these speculations have been written during the intervening decade.' [1]


Perhaps he is being a bit hard on the boy. But were the superstition in question confined to six-year-olds (a class of individuals known, if nothing else, for their uncanny ability to revise their own blunders) there would be little need for any remedy. Unfortunately, the better part of contemporary discourse on film continues to be afflicted by the unfortunate supposition that those who make films and those who understand them are by nature distinct groups.

--Matt Teichman / Prelude to the Philosophy of Hollis Frampton
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its not easy being concrete


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"Architecture, being a sensory experience, must be interpreted through a sensory medium."

rip ezra stoller

a selection of images
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light impressions


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saltflats start


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"Don't get me wrong. As a holes-in-the-pockets modernist myself I'm not looking for corks round the brim here. It's just there are things we're not seeing - not because we're stuck in some elsewhere history, but because we refuse to learn from it."


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thacher house morongo valley


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fugly west side stadium


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the end of 1960's architecture


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tompkins square park EV


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