[equatorjournal]

[114801]

imagologic está en otra parte; vuelve a empezar

gracias por inspirar, compartir & acompañar 🙃

[met-medieval-art]

Glass Fragment, Metropolitan Museum of Art: Medieval Art

Gift of Dr. Bashford Dean, 1923 Metropolitan Museum of Art, New York, NY Medium: Pot metal glass

[paradisebackyard]

#KunioMaekawa https://www.instagram.com/p/CAFn7rwKvqs/?igshid=khqmfdmj0wzw

[met-greekroman-art]

Glass pendant in the form of crescent horns, Metropolitan Museum of Art: Greek and Roman Art

Gift of J. Pierpont Morgan, 1917 Metropolitan Museum of Art, New York, NY Medium: Glass

http://www.metmuseum.org/art/collection/search/249682

[arianeka]

South of France. | instagram

[thunderstruck9]

Sayed Haider Raza (Indian, 1922-2016), Dhayan, 2004. Acrylic on canvas, 39.5 x 39.5 in.

[blackhoody]

[elardor-deactivated20230918]

“Ah, que tú escapes Ah, que tú escapes en el instante en el que ya habías alcanzado tu definición mejor. Ah, mi amiga, que tú no querías creer las preguntas de esa estrella recién cortada, que va mojando sus puntas en otra estrella enemiga. Ah, si pudiera ser cierto que a la hora del baño, cuando en una misma agua discursiva se bañan el inmóvil paisaje y los animales más finos: antílopes, serpientes de pasos breves, de pasos evaporados, parecen entre sueños, sin ansias levantar los más extensos cabellos y el agua más recordada. Ah, mi amiga, si en el puro mármol de los adioses hubieras dejado la estatua que nos podía acompañar, pues el viento, el viento gracioso, se extiende como un gato para dejarse definir.”

— José Lezama Lima | Enemigo rumor | 1941 

[thingsandfinds]

Thorns of Acacia (J. Bastin.

[architectureandfilmblog]

Olive Trees, Vincent Van Gogh, 1889

AT ETERNITY’S GATE (2018) 

There are two kinds of movies. One aims to immerse the viewer unobtrusively in a story, in such a way that they forget they are watching something acted and scripted. The other uses the medium as a canvas, deliberately drawing attention to the cinematic process. It’s fitting that this movie about Van Gogh falls into the latter category, because an Impressionist painting also provides not just a window to a scene, but a deliberate expression of the act of rendering it.

Director Julian Schnabel is a painter himself, and while the mannerisms of this film (roving, frenetic camera, strange washes of light and colour, etc) might seem distracting, they’re not arbitrary. He isn’t interested in giving us the costumed art history lesson of most biopics, but rather in depicting the soul of a painter. I really liked the result, but it won’t be for everyone. I’d hazard a guess that if you are someone who also feels a compulsion yourself to paint/draw etc, it may resonate with you, but there are others who may just find Schnabel’s approach inexplicable or distracting. (Image via npr, from an article about the fact that it contains the remains of a dead grasshopper, caught in the paint).

[kirilk]

[toastistoasty]

yohji yamamoto 1989

[luciledemory]

Issey Miyake 1989, photo Irving Penn. Via the archive library on instagram

[garadinervi]

Bridget Riley, Study for Point Movement, 1966

[withoutyourwalls]

Leon Berkowitz

[architectureandfilmblog]

HENRI MATISSE: THE CUT OUTS (2014)

This short film was made to accompany the exhibition of the same name at London’s Tate Modern. It gives an introduction to Matisse’s iconic Découpés, which begain as an informal mock-up tool, but progressed to wall-sized installations, and eventually inspired an entire building: the Chapelle du Rosaire in Vence. (Image via pinterest)

[jamabushi]

Compute, 1994