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coffee wiffer

via vz
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whit-bi '10


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Koons’s recourse to an air of collegiality and aesthetic assault is dictated by a distinct vulnerability in his position. His career and the plutocratic culture that it has adorned represent an epoch-making collusion of mega-collectors and leading artists, which has overridden the former gatekeeping roles of critics and curators and sidelined the traditional gallerists who work with artists on a long-term basis of mutual loyalty. With numbing regularity, newly hot artists have abandoned such nurture for gaudy, precarious deals with corporate-style dealers like Larry Gagosian, Pace-Wildenstein, and David Zwirner. In the boom era, buzz about the opportunistic exhibitions of such dealers and the latest sales figures from art fairs and auction houses were what passed for critical discourse. The situation mesmerized newcomers, by flashing promises of ascension to the starry feeding trough. Now that such promises can no longer be made, the posturing of “Skin Fruit”—roughly, noblesse oblige, laced with a left-libertarian raciness—cannot long deflect the mounting potency of class resentment. People are going to notice that the defensive elements, in this particular scrimmage of sensibilities, are members of the putatively vanguard aristocracy of wealth and social clout. The future of art, and the corresponding character of cultured society, seem bound to be determined by some smart, talented, as yet unidentified parties among the howling sansculottes. ♦

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driftwood


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the story of stuff


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-1JM

John McLaughlin, “Untitled (#33)”, 1958
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the cloud for agnes martin


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The job of an art critic is to take perpetual inventory, constantly revising her ideas about the direction of contemporary art and the significance of the work she writes about. In these essays, which span three decades of assessment and reassessment, Rosalind Krauss considers what she has come to call the "post-medium condition"—the abandonment by contemporary art of the modernist emphasis on the medium as the source of artistic significance. Jean-François Lyotard argued that the postmodern condition is characterized by the end of a "master narrative," and Krauss sees in the post-medium condition of contemporary art a similar farewell to coherence. The master narrative of contemporary art ended when conceptual art and other contemporary practices jettisoned the specific medium in order to juxtapose image and written text in the same work. For Krauss, this spells the end of serious art, and she devotes much of Perpetual Inventory to "wrest[ling] new media to the mat of specificity."

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take ivy again

via aw
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from the netflix que

The Architectures collection explores the most important creations in modern architecture, from the 19th century to the latest creations by today's great architects. Each documentary in the series looks at one building, selected for its exemplary features and its role as a landmark in the history of contemporary architecture. The building is examined from top to bottom and analyzed from its foundations to its roofing.

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Max Watman’s description of one of the liquor-distilling experts he interviews in “Chasing the White Dog” also applies to the author himself: “He hobbies hard.” In the grips of a passion for homemade spirits, Watman fumblingly assembles a rudi­mentary still, violating federal law and risking death by explosion or ergot (a poisonous fungus). Such dangers make him anxious, but Watman has the enthusiast’s capacity for losing himself in recondite detail. He lovingly catalogs the ingredients of a whiskey mash on display at a supply store in upstate New York: “crystal six-row malted barley, torrefied wheat, Maris Otter, Belgian candy sugar, flaked maize, amylase enzymes.” He minutely recounts his distillation experiments, but the tone is less instructional than slapstick. “After three sips, my mouth was numb,” he says about one of his early batches of whiskey. He eventually makes some respectable applejack.
via vz
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This site is devoted to building a history of late 20th century radical and community printing collectives in the UK; the poster collectives, the service printers and typesetters, the print resource centres. The presses were part of a chain: activists in organisations wrote and designed the books, pamphlets, posters, newspapers and leaflets which they needed to further the cause. Typesetters and printers produced them. Activists and independent bookshops distributed them. And today? Still activists, still typesetters (digital) and presses (eg Calverts), still independent bookshops (eg Housmans, Centerprise)… But to a huge extent the internet provides the means for radical communications. The history of the presses is a history that doesn't exist except in the memories of the ex-workers, friends and clients. The idea is that people who were involved in the printshops can create and edit the pages. You need to register and get a password to do this. Just click on the login link at the bottom right of this page and it will take you to a dialogue box with a link to register.
via private circulation
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sun city girls cloven theater (collect all 6)


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van vorst park in jc thawed out enough for a few rounds of bocce and noticed the forsythia is popping. woot. please dont forget the not before mothersday rule.


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digitus impudicus


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this is pretty funny. tom moody posts a statement, a dissenting remark and a quibble concerning the blog post internet. neither have their comments feature turned on. (!!!???) see where im going with this?


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“Orange is the sun,” she said, “and lavender is the most spiritual color of all — violet gives you calmness.”

>>cough<< bullshit >>cough<<
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the great pacific garbage patch


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redline guages


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hoarders need to meet the pickers


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void house

via justin
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captain organic ross lovegrove

via vz
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no photo 303 glry

via afc
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