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tesla 4 door S model
MLK streets project
Bernard Ratzer “Plan of the City of New York” in its 1770 state
chessboard had been a key image in Man Ray's work since as far back as 1911., when he had made the Tapestry, as well as other compositions based upon grids of squares. The famous Lips had begun as a similar grip upon a photograph of Kiki's mouth, "It helps you understand the structure, to master a sense of order," he wrote at the time. "When the ancient masters composed a painting, they used to divide the surface into regular squares."the imagery of chess
wild grapevine and how to get rid of it
6 step
pre-pop
liquidating dennis hoppers art collection
fda recalls 'nuclear sludge' candy bars for unsafe lead levels
notes: on the berlin home/studio of conceptual artists karin sander recently published in the nyt.
the two floor rooftop addition (actually its a parabuilding) is ugly on the outside and opulently minimal inside. it looks very, very expensive. why do artists want to live like their affluent collectors? how about keeping more of a safe distance from the man.
11 small eco homes
Bohumil Stepan's cover illustration for Gulliverovy Cesty (Gulliver's Travels), Prague 1968
license plate maps of usa
pair of painted modern windsor chairs at rago discovery
via adman
ny stories, a list
via st fb
AK container complex
modern shell on former cannon foundry house near vilnius
the 7 layers of forest gardening w/ robert hart
its my party
generic dr pepper
The tensions of this art revolved around the very old dyad of adulthood and a child-centered world, but landed heavily on the side of the child. Formally, there was an aestheticization of the mode of pastiche, which Fredric Jameson identified in the early eighties as a characteristic mode of postmodern narrative. Here, however, “blank parody” gave way to a reconstruction of past techniques more perfect than the originals, in an irony without sarcasm, bitterness, or critique. Reflexivity was used as a means to get back to sentimental emotion.via MB
In the nineties, it had become commonplace to assume that one could no longer say heartfelt, sincere things outright, because all genuine utterance would be stolen and repeated as advertising. Whatever anguish this caused seemed gone in the artifacts of the early aughts. The ironic games were weightless. The emotional expressions suggested therapy culture, but hipster art often kitschified—or at least made playful—the weightiest tragedies, whether personal or historical: orphans and cancer for Eggers, the Holocaust and 9/11 for Jonathan Safran Foer.
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