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counterfeit mini
john fekner industria
As he spoke, Mr. Shulman glanced at a poster made from his most famous photograph, a night scene of a 1959 glass-box home known as Case Study House No. 22, in which two women sit chatting in a room that appears magically suspended above an infinite spread of sparkling city lights. Designed by Pierre Koenig, the house was part of a much-lauded project promoting low-cost progressive design.
mid-west home buyers too short sighted to recognize great values in FLW homes:
Small rooms, big price: Wrights are tough sell
i dont think a 20% FLW premium over compribles is asking too much for masterpiece architecture!!!
especially with prices starting in the $300,000.00 - $400,000.00 range. then again, who wants to live in the mid-west?
In an arrangement known to few of the club's patrons, CBGB [OMFUG] subleases its spaces at 313 and 315 Bowery from the organization, which shelters 175 homeless people in the floors above the club. In 2001, the organization began efforts to collect more than $300,000 in back rent from the club. Although much of that has now been paid, the club faces eviction over remaining debts of about $75,000, both parties say.
carpocalypse
The show also has a single large painting, a black-and-white photorealistic portrait of the proprietor, Paula Cooper, copied by Mr. Stingel from a photograph made by Robert Mapplethorpe in 1984.
In those early years, he [Julius Shulman] used only a rudimentary Kodak vest pocket camera on a tripod with natural light — no flash. Architects loved his work because it celebrated theirs: the purely horizontal floor, perfectly vertical walls, the play of light and shadow.
In a controversial ruling Wednesday, a court in Düsseldorf barred a company from selling the 'B9' chair originally designed by Bauhaus architect Marcel Breuer and ordered it destroy all existing stocks.
danto on sontag
houses of vinalhaven
announcing a new feature here on schwarz: rat rod watch and auction results. today's pick
A new two-mile esplanade and bicycle path - no less than 40 feet wide in most places - would run along the river, linking Battery Park at the tip of Manhattan Island to the East River Park, between the Manhattan and Williamsburg Bridges. Benches, tables, planters and trellises would line the planked walkway.
More than a dozen small, boxy pavilions for shopping, recreation, cultural programs and community gatherings would be built under the F.D.R. Drive, each with about 10,000 square feet of space. Some might have facades that could be opened in summer. The elevated highway viaduct would remain, but its underside would get new lighting and cladding to improve its appearance and acoustics.
shake hands with shorty
architecture slam : create a futuristic luxury hotel and government office complex for the year 2050 when, presumably in the name of spreading democracy there, the United States takes over the moon.
richard prince check paintings
really real
surf photographer leroy "granny" grannis american b.1917
"A new audit of spending on port security - often called the nation's "soft underbelly" - reveals a disturbing trifecta: far too little money appropriated; much of the appropriated money not spent; and much of the money that was spent going for the wrong things. This is all part of a larger problem of misplaced priorities in the homeland security budget."
The product below is an unauthorized parody that is being offered for auction by its creator, Francis Hwang. It has not been licensed or authorized by Apple, Downhill Battle, Island Records, Casey Kasem, Negativland, or U2.story via
Who owns the words you're reading right now? if you're holding a copy of Bookforum in your hands, the law permits you to lend or sell it to whomever you like. If you're reading this article on the Internet, you are allowed to link to it, but are prohibited from duplicating it on your web site or chat room without permission. You are free to make copies of it for teaching purposes, but aren't allowed to sell those copies to your students without permission. A critic who misrepresents my ideas or uses some of my words to attack me in an article of his own is well within his rights to do so. But were I to fashion these pages into a work of collage art and sell it, my customer would be breaking the law if he altered it. Furthermore, were I to set these words to music, I'd receive royalties when it was played on the radio; the band performing it, however, would get nothing. In the end, the copyright to these words belongs to me, and I've given Bookforum the right to publish them. But even my ownership is limited. Unlike a house, which I may pass on to my heirs (and they to theirs), my copyright will expire seventy years after my death, and these words will enter the public domain, where anyone is free to use them. But those doodles you're drawing in the margins of this page? Have no fear: They belong entirely to you.
Mac Low is probably the most controversial of the many great poets of the legendary "New American Poetry" generation, those literary artists born in the '20s and weighted with names like Beat and Projective, New York School and San Francisco Renaissance. He has certainly been the hardest to assimilate into the predominantly humanist, self-expressive orientation of postwar poetry. Seen from the point of view of the visual and performing arts, Mac Low's work may appear less abrasive; and yet there is no visual or performing or conceptual artist whose word works approach the complexity, ingenuity, and density of Mac Low's, not even his many Fluxus associates, or his longtime comrade and instructor in the art of chance, John Cage. It is not that Mac Low's work is better than his contemporaries'–he himself rejected such forms of evaluation–but his work's significance for the development of poetry and for our understanding of verbal language is without parallel.