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i couldnt find a decent version of (mercury) rocket 88 so havta settle on this.

do you know how to pony?
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Four years ago, the parts told him to build a custom car out of a 1998 Mercury Grand Marquis sedan and body panels from 11 different classic cars, in particular a 1957 De Soto. “I needed a new car, but I can’t have anything regular,” he said, noting that his Cadillac hot rod is 50 years old.

Oddly enough, Mr. Heller had to deconstruct his own Deconstructivist style and construct something more reliable.

With the help of a friend who had moved to Florida and found the state overrun with large Mercury sedans, Mr. Heller was able to buy a Grand Marquis with low mileage for $6,600. “They’re old guys’ cars,” he explained. The first thing he did was pry off the lights and bumpers. Then he stripped the body panels, leaving only the front doors and the roof. And he went to work.

When Mr. Heller shops for old cars, he cuts off the sheet metal and sells the rest. “I’m not interested in the mechanical parts,” he said. If the metal is rusted, he’ll sandblast it. If it’s dented, he’ll pound it even. He keeps a stocked inventory at all times. The De Soto panels had been lying around for a while.
thx adman
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metal shed porn (avbl with rat guard trim)


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lost oregon

thx erin
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carriage shed

3 bay carriage shed


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ruin-nation


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anvil

whats the buzz? tinnitus.

via things
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eno observed


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weapons grade canvas

Was Jackson Pollock a weapon in the Cold War? There is a lot of barbed wire surrounding that question. The Cold War had battlegrounds all over the world, and it was a hot enough war in some of them, but in the main battleground, Western Europe, it was a war for hearts and minds—an idea war, an image war, a propaganda war. Global combat on these terms was the policy of the American government. There was no secret about the policy, and most of its enactments—such as the Fulbright Program, which was established in 1946—were carried out in broad daylight and to public acclaim. But some were carefully shrouded, made to appear the work of individuals and institutions acting on their own, without government sponsorship, as was the case with the magazine Encounter, which was published in London and contributed to by prominent American and European intellectuals, and which was revealed, in 1967, to be a creature of the C.I.A.


nytbr


thx steve/jim/tom
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The story of the Brooklyn Navy Yard hospital complex, historically known as the Hospital Annex and recently known as NAVSTA Brooklyn, begins in 1824 with the sale of the Schenck Farm to the secretary of the Navy. Adjacent to the Navy Yard (known then as the Brooklyn Naval Shipyard), the plot of land was envisioned as a hospital and support facility for the Yard. When first purchased, it was separated from the Yard proper by mudflats created by the Wallabout Bay; as the bay was filled in to extend the Yard, the boundary all but vanished.

Construction of the hospital facilities began in earnest in 1830; the main hospital building was completed in 1838. By 1850, the Annex was a self-contained parcel of land, walled-in, with a gatehouse, a laboratory, and a cemetery. In 1864, the Surgeon's Residence was constructed. During the Civil War, the hospital would supply over one third of the medicines used by Union troops, and the basement of the main hospital building would be used to confine and treat wounded Confederate prisoners. During this period, more space was needed, and needed quickly, and a wooden annex was added to the main hospital building. This allowed hundreds of additional beds in the facility; over 500 patients could be treated at once.
thx lisa
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living tree house
tree tent

thx vz
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brc


thx steve d
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now more than ever, cans are stacking up in ports

thx jimb
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blue highways tv / old country church

the spencers

adman found this ch hopping through fios basic plan
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The Greenbelt Town program, which was supposed to change the face of America with a series of highly rational garden cities, was whittled down to three small projects. And the TVA’s initial steps toward creating a “dynamic regional and interregional economy” were soon shed by its director, Arthur Morgan, who steered the authority toward becoming merely a source of electricity for the industrializing south. This tension—between those with plans to use government action and money to transform the country and those who prefer a more laissez-faire approach focused purely on temporary job creation—is very much alive today as the American Recovery and Reinvestment Act of 2009 (ARRA) works its way through Congress. Like today’s stimulus package, the New Deal started as a jobs-creation program, but it gave rise to profound changes in the landscape and culture that were a natural outgrowth of the era’s newfound belief in the federal government’s ability to play a transformational role. As we debate what many call “the New New Deal,” the lessons of the 1930s remind us that a focus on job creation need not preclude a commitment to the broader progressive agenda that made the New Deal so far-reaching.

The New Deal’s largest and best-known agency, the one that became synonymous with the entire program, was the Works Progress Administration (WPA). Enacted in 1935, it received more money and attention than any other of the Roosevelt administration’s initiatives. By 1941, the WPA had spent approximately $11.4 billion ($169 billion in today’s money). Of this massive investment, $4 billion went to highway and street projects; $1 billion to public buildings; $1 billion to publicly owned or operated utilities; and another $1 billion that funded initiatives as varied as school lunch programs, the famous Federal Writers Project, and sent photographers like Dorothea Lange and Walker Evans out to document the American landscape. By the time it was disbanded by Congress in 1943 as a result of the manufacturing boom created by World War II, the WPA had provided some eight million jobs and had left its mark on nearly every community in America by way of a park, bridge, housing project, or municipal building.

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heard this one on the job today: "putty and paint will make it what it aint."


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goodman house new construction w/ reused timber frame barn skeleton


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classic hearse register


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Go Edgar!

Edgar Oliver invests the word “dark,” which he uses a lot, with two syllables and much fondness. “Dah-aaahk,” he says, his voice dipping in flight like a bat on the wing. And suddenly shadows seem to gather around him, like dutiful pets summoned by a doting owner.

In “East 10th Street: Self Portrait With Empty House,” the sweet and sinister memoir written and performed by Mr. Oliver at the Axis Theater Company, other words receive similarly lingering pronunciations that stretch syllables into chasms. In particular, “horror,” “terror” and their derivatives are uttered with the same mix of affection, amusement and awe. When Mr. Oliver says, “I was hahhhhrrified,” a sentence that might be expected to denote mere dismay or disgust becomes a deeply sentimental declaration.
thanks tom warren
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minimalism: art and polemics in the 60's by james meyer

reviewed preferred review


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More than sixty samples of criticism reprinted from a variety of sources offer insights about the most controversial artist of the century. The collection includes some of the most important and best examples of Warhol criticism and provides access to material that is no longer easily obtainable. Organized chronologically, the criticism has been selected on the basis of its value in interpreting Warhol's artistic legacy. Valuable for scholars, students, and others interested in art and popular culture.

The diverse nature of the texts presented here enables readers to compare critical and popular reactions as well as to follow the evolution of the criticism. In addition, as unrevised art history, the material offers additional insight into issues related to art criticism, art history, and the machinery of culture. The work includes a chronology of the artist's life, a selected bibliography of over 100 entries, and a detailed subject index providing a complete, cross-referenced directory to the assembled criticism.

Table of Contents:

* Series Foreword by Cameron Northouse
* Preface
* Introduction
* The Warhol Legacy by Alan Pratt
* Chronology
* The Nineteen Sixties
* New York Letter by Michael Fried
* Andy Warhol by Donald Judd
* Andy Warhol by Henry Geldzahler
* Art Notes: Boom? by Grace Glueck
* Andy Warhol by Sidney Tillim
* Saint Andrew by Robert Rosenblum
* Soup's On by Marianne Hancock
* The Image Duplicators--Lichtenstein, Rauschenberg and Warhol by Ellen H. Johnson
* New Tendencies in Art by Aldo Pellegrini
* The Underground Overflows by Bosley Crowther
* Pop Art by Lucy Lippard
* Andy Warhol: The Artist as Machine by Paul Bergin
* Andy Warhol on Automation: An Interview by Gerard Malanga
* Andy Warhol: 'I Thought Everyone Was Kidding' by Leticia Kent
* Kitsch: The World of Bad Taste by Gillo Dorfles
* What's a Warhol? by Paul Carroll
* The Nineteen Seventies
* Andy Warhol by Rainer Crone
* Andy Warhol by John Perreault
* Warhol's Early Manipulation of the Mundane: The Vanderbilt Cookbook of 1961 by Joseph Masheck
* Art: Huge Andy Warhol Retrospective at Whitney by John Canaday
* Brillo Boxes, Red Cows, and the Great Soup Manipulation... by John Canaday
* Or Has Andy Warhol Spoiled Success? by Grace Glueck
* Art by Lawrence Alloway
* Andy Warhol: Film and Paintings by Peter Gidal
* Warhol as Film Maker by David Bourdon
* The Current Cinema: Mothers by Pauline Kael
* The Once-Whirling Other World of Andy Warhol by Stephen Koch
* Andy Warhol by Oswell Blakeston
* The Warhol Tapes by Linda Frankce
* Andy Warhol and the Society Icon by David Bourdon
* The Philosophy of Andy Warhol by Barbara Goldsmith
* Raggedy Andy by Jack Kroll
* Andy Warhol by Caroline Goldman
* Andy Warhol and Jamie Wyeth by Coe Kerr
* Andy Warhol by Oswell Blakeston
* Andy Warhol by David S. Rubin
* Art: Whitney Shows Warhol Works by Hilton Kramer
* The Nineteen Eighties
* Andy Warhol's Painted Faces by Charles F. Stuckey
* Starlust, Andy's Photos by Carter Ratcliffe
* The Shock of the New by Robert Hughes
* Warhol: Backwards and Forwards by Charles F. Stuckey
* The Rise of Andy Warhol by Robert Hughes
* Andy on the Move: The Factory Factor by John Richardson
* Andy Warhol/Jean Michel Basquiat by Ronald Jones
* Andy Warhol: Top Gun and Brancusi by Jim Hoberman
* America's Most Famous Artist by Pierre Nahon
* The Metaphysical Nosejob: The Remaking of Warhola, 1960-1968 by Bradford R. Collins
* Fast Art by John Updike
* On Art, Where Warhol Failed by Bradley W. Block
* Art by Arthur C. Danto
* Words Around Warhol by Jack Bankowsky
* Ugly People Are Just as Hard to Get as Pretty People by Martin Amis
* Master of Modern Paradox by Carter Ratcliff
* Andy Warhol the Painter by Sanford Schwartz
* The Corpse in the Mirror: The Warhol Wake by Stuart Klawans
* The Nineteen Nineties
* Holy Terror: Andy Warhol Close Up by Bob Colacello
* High and Low by Kirk Varnadoe and Adam Gopnik
* Andy Warhol at the Movies: The Critical Response by Alan Pratt
* Uneasy Flirtations: The Critical Reaction to Warhol's Concepts of the Celebrity and of Glamour by Steven Kurtz
* Sadism and Seriality: The Disaster Prints by Jonathan Crane
* Pop Prose: The Critical Response to Warhol Literature by Faiyaz Kara
* Andy Warhol's Allegorical Icons by Steve Jones


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The Color of Industry: Frank Stella, Donald Judd, and Andy Warhol


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An ongoing project of uploading pieces of the wealth of Situationist-related literature. Entire books, lengthy articles, excerpts from the journals Potlatch and Internationale Situationniste, and newspaper articles are just a few of the files to be found here.


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taint necessarily so


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