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review of jean-louis harouel la grande falsification: l'art contemporain

stefan beyst mimesis
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radiant child inside-outsider

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tosches chasing the 0pium den

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poor quality photo-shop of bp crisis center

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things looking worse at the oil spill in the gulf

*"Methane is about 40% of the total volume of hydrocarbons that was flowing from the well - which is why it is more accurate to call it a 'hydrocarbon stream' rather than an 'oil leak"

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we took snapshots on the guided tour of george nakashima compound last saturday

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brion gysin, ivy 1959

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the beat hotel

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george nakashima sourced some of his wood from thompsons mahogany of philadelphia, pa

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tina chow rock crystal jewelry designer

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clifford k berryman

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fox chase restoration llc

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SIMON VELEZ has been designing and making bamboo buildings in Colombia for the past 30 years. He discovered that he could build major structures with the indigenous bamboo called ‘guadua' at much lower costs than with concrete and steel. He was the first to introduce large-span bridges (especially over motorways for pedestrians and cyclists to get across) made in bamboo, and has made a number of other interesting structures as well with the material.

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revisiting marianbad

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rip tuli

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welded spider web gates

another made from shop scrap
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dead malls

via things mag
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phil schaap - 37 hours of archived shows

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neglected and nearly forgotten neutra house: "Beckstrand Lodge, UT, 1950"

greg org
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tap tap tapping machine

via bld blog
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ghost bikes nyc

via aw fb
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The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932 (used from $600.00)

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"The flatness of a painting is one of the manifestations of the unequivocal expression of line and colour. Colour is not independent of line any more. Line is the border of colour. Colour does not flow over the line. It is linked with and dependent on it; it creates a unity. To eliminate duality in one direction leads to the elimination of another duality: the duality of the flat surface of the canvas with the voluminal form of shapes painted on the canvas. The painting, developing towards total homogeneity, should be a result of its innate data (flat surface and the quadrangle of its limits). (...) No matter whether in Cubism of the last period, or in Suprematism, or Mondrian's Neoplasticism - surfaces are flat, but the whole is not yet flat. The painter still looks for contrasts, when he paints in a flat way, but he does not understand what consequences this should lead to. (...) The painting should be homogenous and flat. The dramatic quality of Baroque should be opposed by the Unism of painting ." *8
reading strzeminski

y-a bois pg 123
donajski's digital library

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I have been going to such visually stultified selections from MoMA's permanent collection for 50 years and this one seemed particularly hypocritical and offensive. Here's why: there is a seamless affinity between the left-wing neo-Marxian propaganda of the art that MoMA collects and the diktat by fiat of the Bloombergian real estate expansions, bad architectural choices and plutocratic economic domination in civic life of the rich criminals on MoMA's board.

In a just realm, the left-wing sentiments permeating Halbreich's humorless show would cause museum visitors to make citizen's arrests of the shameless billionaires on MoMA's board, instead of bowing like minions to our "betters."

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