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sputnic lights at vintage oasis
aint it....!
via zoller
justin snags another good shipping container cabin find
"art is either plagiarism or revolution."
-paul gauguin
now can someone get me a job at one of those stupid net surfing art clubs. i can spell fuked up on purpose too.
our friend linda found tables made from reclaimed bowling lanes at the BKLN flea market
porch board
via vz
i try not to be seduced by the fetish aspects of nakashima furniture. really, they are just straight up trestle tables. free edges? just short cuts to a completed work station. butterfly keys? you need them for mending slabs of wood which might not make the grade otherwise. but this table in rosewood, well it did me in. me and someone with 210k.
In 1954 the artist Asger Jorn wrote to Max Bill, “Bauhaus is the name of an artistic inspiration.” Bill, a former Bauhaus student and the founding director of the newly opened Hochschule für Gestaltung in Ulm, West Germany, a self-anointed successor to the Bauhaus, replied, “Bauhaus is not the name of an artistic inspiration, but the meaning of a movement that represents a well-defined doctrine.” To which Jorn shot back, “If Bauhaus is not the name of an artistic inspiration, it is the name of a doctrine without inspiration — that is to say, dead.”1from the spring/summer '08 HDM online
This exchange between the orthodox Bill, who would run his school like a monastery, and Jorn, who as a provocation would create something called the International Movement for an Imaginist Bauhaus before going on to cofound the Situationist International a couple years later, was more than just an epistolary joust. Virtually since its founding in 1919, throughout its fourteen-year existence in Weimar, Dessau, and Berlin under three successive directors, and in the three quarters of a century since it closed its doors in advance of the Nazis, the Bauhaus has been the object of veneration, hostility, controversy, and myth. It has been variously portrayed as a seminal experiment in pedagogy, a hotbed of radicalism, the standard-bearer of the ethos of functionalism and industrial technology, an aesthetic style, and most broadly, an “idea” synonymous with the spirit of early 20th-century modernity itself. In a new collection of essays thoughtfully edited by Kathleen James-Chakraborty, it is a cultural manifestation closely linked to the political and economic vicissitudes of its times.