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arc house


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francis upritchard moon


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alma thomas / pattern paintings


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1500 SF house in the Catskill Mountains


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hot wheels

by HRE
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Ace Records: New Orleans Hits, Made In Mississippi


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wasily



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philadelphia radio


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ny stone dutch barn tribute


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why people hate americans


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good design / gute form / bel design


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Had Rupert Murdoch's wife Wendi Deng not leapt to her feet yesterday at a parliamentary hearing and fought off pie-throwing assailant Jonathan May-Bowles, then her husband would have become the latest luminary to fall victim to "pieing." It's a forty-year old phenomenon borne out of a spirit of bratty, tongue-out political activism -- specifically, of the anti-Vietnam variety.

"Murdoch had it coming," says Aron Kay, a legendary New York activist known as "The Yippie Pieman." He's been hurling baked goods at politicians since the early '70s, landing some of the movement's biggest "gets," including much-ballyhooed former Democratic mayors Abraham Beeme and Ed Koch . "Pieing didn't start with me," Kay points out, "But I have been responsible for much of its history."
via vz
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rip Alex Steinweiss, Originator of Artistic Album Covers


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woodgas


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Marilyn Monroe’s giant blowing skirt sculpture brings out the worst


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Sandler, on the other hand, has never been interested in pushing art one way or another. He claims his role is "participant" and "witness." Actually, he's not so much the art world's Boswell as its Walt Whitman—a calm observer in the moiling thick of things, embracing every aspect of his subject with equanimity. Sandler says he approaches a work of art with the simple question, "Why would anyone want to do that?"

Back in the Abstract Expressionists' day, Sandler says, everyone partook in polemics: They vigorously took sides, debating which art was most significant, which artists were good, which were mediocre, which the best, which philosophical positions—"action painting," "non-objective art," "formalism," "purity," etc.—were the most valid. The artists believed deeply in their art and, in spite of their separation from mainstream culture, that it mattered, that seeing it and comprehending it could make a difference in people's lives. That contrasts starkly with today's artists, who generally tolerate all kinds of art ("pluralism" is the ism that, over the last couple of artistic generations, has buried all other isms) and remain politely indifferent to it if they think that it's bad. Today's art conversations lack the philosophical heat of conversations back then, and are less concerned with who's aesthetically right and who's wrong than with who's hot in the market and who's passé.

Sandler believes the decline in polemics—angry and bitter though they frequently were—translates into a lack of conviction in today's art. Having observed art for more than 60 years, he's convinced that without some kind of impassioned talk about art—even if it's full of delusion—there's nothing to spur on deep artistic visions. The Club, formed in 1949, had been the major forum for the polemics of the Abstract Expressionists. Moving from place to place—often the studios of downtown artists—the Club was what Sandler likens to a "floating crap game." It was where New York School artists hung out, talked about art, and held their passionate panel discussions.
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tubohotel

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changes coming for 2nd ave and houston


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artists beware


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sri threads

tblrbw

A Cotton Kasuri Furoshiki: Alternating Dark and Light Indigo

Boro Kumanozome

Hiro koTa keda

via ref lib
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Bob Dylan on Roy… From Bob's the New Bestseller, Chronicles - Volume One" "I was always fishing for something on the radio. Just like trains and bells, it was the soundtrack to my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song "Running Scared" exploded into the room. Lately, I'd been listening for songs with folk connotations. There had been some in the past: “Big Bad John,” “Michael Row the Boar Ashore,” “A Hundred Pounds of Clay,” Brook Benton had made “Boll Weevil” a contemporary hit. I liked the Kingston Trio. Even though their style was polished and collegiate, I liked most of their stuff anyway, Songs like “Getaway John,” “Remember the Alamo,” “Long Black Rifle.” There was always some kind of folk type song breatking through, “Endless Sleep,” the Jodie Reynolds song that had been popular years before, had even been folk in character. Orbison, though transcended all the genres-- folk, country, rock & roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet." "He could sound mean and nasty on one line and then sing in a falsetto like Frankie Valli in thenext. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business." One of his early songs, “Ooby Dooby”, had been popular way previously, but this new song of his was nothing like that. “Ooby Dooby” was deceptively simple, but Roy had progressed. He was now singing his compositions in three and four octaves that made you want to drive your car off a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. Hisvoice could jar a corpse, always leaving you muttering something to yourself like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious--- no pollywog or fledgling juvenile. There wasn't anything else on the radio like him. I'd listen and wait for another song, but next to Roy the playlist was strictly dullsville...gutless and flabby."

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reclaimed woven redwood ceiling

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