living under a thin film @buttererer - Tumblr Blog

mybluewindow

Franz Kline - Untitled, 1956

jazz-improvisation

Trumpeter Freddie Hubbard (April 7, 1938 – December 29, 2008)

Photo: Francis Wolff

dailyrothko

Mark Rothko Untitled 1969 Acrylic on watercolor paper mounted on hardboard 24 1/8 x 18 3/16 in. (61.3 x 46.2 cm) The Israel Museum, Jerusalem, Gift of The Mark Rothko Foundation, Inc., 1985B85.0644. © Kate Rothko Prizel and Christopher Rothko Photo © The Israel Museum, Jerusalem by Elie Posner

A cool, characteristically dark late Rothko on paper. Just the kind I like.

arthuntblog

Helen Frankenthaler (1928-2011) [USA] — ‘Alchemy’, 1964. Acrylic on canvas (207.1 x 202.6 cm).

victoriantomodern

Albrecht Dürer (1471-1528), The First, Second, Third, Fourth, Fifth and Sixth Knots, c. 1507, woodcut in black on ivory laid paper, the Art Institute of Chicago (1, 2, 3, 4, 5, 6)

"Around 1506, Albrecht Dürer designed a series of six ornate woodcuts of labyrinthine designs after a set of engravings by the school of Leonardo da Vinci, which he may have seen or acquired during an early trip to Italy. Though Dürer left them unsigned, possibly because he borrowed their source material, he referred in his diary to giving away his series of knots on a trip to the Netherlands, and this title has become standard. These impressions are printed on a thin, nearly translucent Italian paper, which may have influenced scholars to occasionally interpret them as embroidery patterns."

thunderstruck9

Franz Kline (American, 1910-1962), Green Painting, 1959. Oil on board, 12 ¾ x 18 in.

dailyrothko

Mark Rothko Harvard Mural study 1962 Watercolor on Construction paper 7 1/16 x 6 1/4 in. (17.9 x 15.9 cm) Harvard Art Museums/Fogg Museum, Gift of The Mark Rothko Foundation, Inc., 1986.474. © Kate Rothko Prizel and Christopher Rothko Photography Credit Imaging Department © President and Fellows of Harvard College Rothko did a lot of studies for both his mural commissions. In this case, for the Harvard Murals, Rothko painted numerous small color studies on construction paper. This one is particularly wild.

Happy New Year, Rothko People!

loveboatinsanity

musickickztoo

Mike Watt *December 20, 1957

rearte2

by Robert Motherwell, 1966

archiveofcanvas

Edgar Degas Autumn Landscape (L’Estérel) 1890 Monotype in oil on paper, 12 1/2x16 1/4”

Brent Gutzeit / Nullpart - December 5

December 5 brings together two uncompromising forces in contemporary experimental sound: Milwaukee non-music artist Brent Gutzeit and the German formation Nullpart. A split-single in form, but unified in its sense of descent, erosion, and political unease, the release captures an aural topography where democratic values slide, bend, and collapse under pressure.

Gutzeit’s contribution, “Collapse,” unfolds like a controlled implosion in five shifting sections. Gloomy micro-pulsations open the piece, scattered like sparks along a frayed wire. Hiss and crackles accumulate, then give way to ultradense ambient surfaces that rise almost imperceptibly in volume. High frequencies drift in and out—at times nearly beyond perception—before the composition lurches into motoric convulsions, a final spasm of mechanical insistence. “Collapse” charts a dramatic architecture of failure, one slow structural giving-way after another.

Nullpart answers with “Backslide,” an unnerving continuum of audiochemical ambience. Heavily modulated textures warp and ripple in unstable directions; vertigo-sound with no stable center. The track feels like losing ground in real time—an undefined, uneasy drift punctured by dark psychomotoric pulsations. If Gutzeit documents the moment of collapse, Nullpart explores the disorientation that follows. The title December 5 remains deliberately enigmatic, a date suspended without context. Yet the political charge of the release is unmistakable: a sonic portrait of democratic erosion, a steep audio slope downward. These two tracks, taken together, map the contours of a world slipping away from its own ideals.

Cover art by Siegmar Fricke