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Mix&Match, Julie Puaux

#Repost @joyas_sensacionales ・・・ Un altra peça d'en Ramon Puig Cuyàs. Només a la tòmbola de Joyas Sensacionales 2016. #joieriacontemporania #joyassensacionales #contemporaryjewelry #raffleJS2016 #tombolajs2016 #salaperill #contemporaryjewellery #joyeriacontemporanea #TJA #klimt02 #ajfishere #thejewelleryactivist #jewelleryactivist #ramonpuigcuyas

justanothermasterpiece

Miroslava Rakovic.

formlab

Huset på Øya, Leif Nyland

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by László Moholy-Nagy, 1922

wendou

All Lights Are 12V 2017

Zhou Wendou

abstracteddistractions

Calder Vs Duchamp !

During the mid-1940s, Calder produced a series of small-scale works, many from scraps trimmed during the making of other objects. When Duchamp saw them in Calder’s studio in 1945, he audaciously proposed, “Let’s mail these little objects to Louis Carré, in Paris, and have a show.”

By taking advantage of the newly available international airmail system, Duchamp’s action predated “mail art” by nearly two decades.

Calder packed thirty-seven miniature objects into six cartons and mailed them to Paris; intrigued by the limitations on parcel size, he also began creating larger collapsible works that could be reassembled upon arrival.

Alexander Calder: Mobiles, Stabiles, Constellations opened at Galerie Louis Carré in 1946 and is remembered today as one of the most important shows of the artist's career.

Images:

Red T with Black Flags (1946), sheet metal, wire, and paint, Measuring approximately 24 ¾" x 16 ¼" x 14" (62.8 x 38.7 x 35.5 cm),

Crayfish (1946), sheet metal and paint, This piece measures a mere 3 ½ inches high (approx. 8.6 cm),

Grand Piano, Red (1946), sheet metal, wire, and paint, 9 ⅝" x 10" x 3" (24.4 x 25.4 x 7.6 cm)

heavensdoorways

Louise Nevelson, "End of Day XXXVII," 1973,

Wood construction, painted black,

(341⁄2 x 19 x 2 in. (87.6 x 48.3 x 5.1 cm.))

Lost in the monochromatic world of Louise Nevelson today. There is something so silent and commanding about the way she gathers the "discarded" and builds it into a wall of mystery.

The deep shadows between the wooden fragments feel like they hold a thousand different stories, all painted in the same infinite black.

It feels less like an object and more like a place you could inhabit if you only knew the way in.

PS: This sculpture is not a door, but it could be.