Nina Kuo
1. -2. Contrapted Series Chinatown, 1983. Photography. Chromogenic print.
3. Contrapted Series Quilt, 1983. Photography. Chromogenic print.
Source: Brooklyn Museum
Game of Thrones Daily
RMH
Three Goblin Art
occasionally subtle

if i look back, i am lost

ellievsbear

blake kathryn
Keni
Sweet Seals For You, Always
Show & Tell
TVSTRANGERTHINGS
Stranger Things

tannertan36
almost home

PR's Tumblrdome
NASA
Cosimo Galluzzi
Monterey Bay Aquarium
AnasAbdin
we're not kids anymore.
seen from Chile
seen from South Africa

seen from United States
seen from United States

seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States

seen from United States

seen from Netherlands
seen from Australia

seen from Singapore

seen from United States
seen from Brazil

seen from Türkiye
seen from United States
@aholdingspace
Nina Kuo
1. -2. Contrapted Series Chinatown, 1983. Photography. Chromogenic print.
3. Contrapted Series Quilt, 1983. Photography. Chromogenic print.
Source: Brooklyn Museum
Still from
Europlex
2003
Video Essay, 20′
Ursula Biemann
Gordon Matta-Clark
Conical Intersect
Silver dye bleach print
Incision through two adjacent 17th-century buildings designated for demolition near the much-contested Centre Georges Pompidou, which was then under construction
1975, printed 1977
Margarita Azurdia
Por favor quitarse los zapatos (Please take off your shoes), 1970
Photographic documentation of interactive installation:
Three black-and-white photographs
-
Paulo Nazareth
Para que No Encuentren Mis Huellas en el Desierto
2012, video performance, 5 min 45 sec
Frank Walter
“Untitled (Pink Sky, Green Field)” (n.d.)
oil on cardstock
5 1/4 x 7 1/4 inches
Freddy Tsimba, Ombres (Shadows), Tervuren, 2016. Royal Museum of Central Africa.
Francisco Vidal’s Utopia Machine, a 60 x 60 cm plywood box containing a toolkit for the mass production of screenprints, which also serves as a portable gallery (Source: Tiwani Contemporary)
Zeferina (2018) by Dalton Paula. Oil on canvas. Collection Museu de Arte de São Paulo.
shahzia sikander
1. “Eye-I-ing those Armorial Bearings,” 1989–97
2. “SpiNN (III),” 2003 Watercolor on tea-stained wasli paper
Minoru Niizuma
1. Leo Amino, Family, 1948, cast polyester resin, Smithsonian American Art Museum
2. Leo Amino, Refractional #21, polyester resin, 1967.
3. John Pai, Body-in-Question, welded steel, 2009.
4. John Pai, Atom’s Rib, welded steel, 2010.
Chila Kumari Singh Burman, Riot Series.
1. “Militant Woman,” Photo-etching and aquatint on paper, 1981.
2. “Cut - Foot - Pupil - Uprisings,” Photo-etching and screenprint on paper, 1981.
Tacita Dean
The Green Ray
from The Sun Quartet
2001
16 mm film
2 min.
“When the sun sets into a clear, crisp horizon and when there is no land in front of you for a few hundred miles, and no distant moisture that could become at the final moment a backlit cloud that obscures the opportunity, you stand a very good chance of seeing the green ray. The last ray of the dying sun to refract and bend beneath the horizon is the green ray, which is just slower than the red or the yellow ray. Sailors see more than the rest of us, and they have come to signify the sun the harbinger of great change or fortune in their lives. For years I have sought out the green ray...but never have I seen it. And in the summer of last year, as I set off to a small, near inaccessible village off the West Coast of Madagascar, I had a quest to try and see if not film something that I could not imagine...As I took vigil evening after evening on that Morumbi beach looking out across the Mozambique channel and timing the total disappearance of the sun behind a single roll of film, I believed but was never sure I saw it...On the beach beside me were two others...infected by my enthusiasm for this elusive phenomenon...their video documentation was watched as evidence to prove that I hadn’t seen it either. But when my film fragment was later reproduced in England, there, unmistakably, defying solid representation on the single frame of celluloid, but existent in the fleeting movement of film frames, was the green ray, having proved itself too elusive for the pixellation of the digital world.”
Nam June Paik's prepared piano at his Exposition of Music – Electronic Television, Galerie Parnass, Wuppertal, March 11-20, 1963
George Shiras
Ellie Ga
Gyres 1-3
2019
installation version/ 2020 screening version Single channel video, sound, 39 minutes
Simryn Gill
Channel 14 (series)
Photograph, gelatin silver print on paper, 319 × 326 mm
Robert Smithson
Yucatan Mirror Displacements (1–9)
1969
Nine chromogenic prints from chromogenic slides (126 format)
24 x 24 inches (61 x 61 cm) each
“One must remember that writing on art replaces presence by absence by substituting the abstraction of language for the real thing. There was a friction between the mirrors and the tree, now there is a friction between language and memory. A memory of reflections becomes an absence of absences.”
Simryn Gill
My Own Private Angkor, #33
2007–2009
gelatin silver print, 15 1/2 x 14 3/4"
From the ninety-part suite “My Own Private Angkor,” 2007–2009.