Public art, Architecture, Photography

in love with visual culture

[wyldezoo]

Ash Dome: A Secret Tree Artwork in Wales Planted by David Nash in 1977 [via pinterest]

#trees #landart

[doublemyvision]

[wike-wabbits]

Juan van der Hamen ‘A dish of cherries and plums’

[fluentisonus]

rothko in the turner gallery???

[fluentisonus]

I can't get it right in the photo but going absolutely bonkers over the way the colors just like. blur across from the rothko (1950) to the turner (1845). this whole room is full of these abstract colors it's like they're bleeding between the picture frames with no regard for time

[fluentisonus]

wait wait hold on a second.

[arsvitaest-deactivated20260111]

Rose Espinosa, Little Silver, 2018, oil on board

[nobrashfestivity]

Joaquín Sorolla

Mother, 1895–1900.

Oil on canvas, 125 x 169 cm

[doublemyvision]

One of my very favorites. Sorolla museum in Madrid worth to visit 

[nobrashfestivity]

Colette (Colette Justine)

interiors

A prominent figure in the downtown New York scene of the 1970s, Colette’s multimedia work has influenced major artists and musicians, including Cindy Sherman and Madonna.  In all of her work, Colette worked under the guise of performative personas that explore issues of the body, gender, and representation. Wearing extravagant costumes, she performed, live, and slept in her installations; she even once staged her own death at the downtown Whitney Museum. “I thought of myself as ‘post conceptual’ because I persisted and believed strongly in the power of symbols,” she said. “My work was putting less emphasis on the intellect alone. I sought unity of body, mind, and soul, in my life and art.”

[doublemyvision]

[doublemyvision]

Ritual Meal | Ritual, Historical figures, Meals

Aug 13, 2019 - This is "Ritual Meal" by Barbara T. Smith on Vimeo, the home for high quality videos and the people who love them.

[doublemyvision]

Treating the problem of anorexia nervosa from the parents' perspective, Rosler presents a mother and father speaking about the tragedy of their daughter's death as a result of dieting. The conversation turns toward the irony of self-starvation in a land of plenty and toward the international politics of food, where food aid is used as a negotiating tool. Confronting a serious issue, Rosler simultaneously sets into play the confessional form and the ghoulish staginess of talk show dramatics.

Source: https://www.vdb.org/titles/losing-conversation-parents

[for1010101010]

Martha Rosler / Housing Is a Human Right / Time Square Spectacolor animation detail, 1989.

[woundgallery]

Adrian Piper, Food for the Spirit, 1971

“Searching for a better understanding of her own relationship to the art object, the cultural sphere, and to the world in general, Piper also increasingly made herself the subject of her art. Food for the Spirit, a series of fourteen black-and-white self-portraits shot with a Brownie camera, would represent a turning point for the artist. At the time she began working on the piece, she was writing a graduate course paper on Immanuel Kant’s Critique of Pure Reason. She became “obsessed” with Kantian thought, fasting, practicing yoga, and isolating herself. Fearful that she was losing tough with the physical world – as if she was, in fact, evaporating into a Kantian state of pure reason – she searched for ways of corporeal reassurance. ‘I rigged up a camera and tape recorder next to [a] mirror,’ Piper has written of the process of creating Food for Spirit, ‘so that every time the fear of losing myself overtook me and drove me to the ‘reality check’ of the mirror, I was able to both record my physical appearance objectively and also record myself on tape repeating the passage in Critique that was currently driving me to self-transcendence.”’

—RISD Museum

[doublemyvision]

https://www.reactfeminism.org/entry.php?l=lb&id=150&wid=322&e=&v=&a=&t=Barbara T. Smith Untitled (Four Performance Documents) At the end of the 1960s, Barbara T. Smith (*1931, USA) was one of the first performance artists on the West Coast of the USA. In the early 1970s, Smith created performances based on ritualistic actions and often connected to food. According to the artist, "Feed Me" (1973) was repeatedly criticised and misunderstood, but she has always rejected the accusation that she treats women in art simply as the objects of the male gaze and that she affirms the idea that they are available objects in everyday life of society. Always in control, she subverts the idea that a naked woman is merely at men’s disposal. Smith has repeatedly positioned her performances in socially critical contexts, and she maintains a lively exchange with other contemporary artists (such as Nancy Buchanan and Suzanne Lacy), with whom she collaborates. For Feed Me (1973), Barbara T. Smith sat naked in a room where only one visitor could enter at a time. A voice could be heard on a tape recorder, ordering visitors to feed her, leaving them to go about this task on their own. In Intimations of Immortality (1974) she switched places with several homeless women, spending time sitting on a park bench while they sat in a museum. On the last day, she invited a group of homeless people into the museum, where they decided to have a party. For The Cover Up (1976), Smith designed a hotel room to look like a sexual fight had taken place. An interview with a chambermaid can be heard on tape, talking about patriarchal negligence in phrases like “Men only want quick sex and then they leave.” For The Hunger Strike (1980), which Smith performed together with Faith Wilding and Leslie Labowitz, the artists made white signs that they displayed in a protest against the rejection of an equal opportunity law. During one of their art actions, Smith and Wilding saved Labowitz’s life when she collapsed, dressed fully in black, after an exhausting protest action against the current political situation. Courtesy Barbara T. Smith

Source: https://www.reactfeminism.org/entry.php?l=lb&id=150&wid=322&e=&v=&a=&t=

[purificandome]

Lygia Pape, O Ovo, 1967

I have always been passionate about “the inside is the outside,” and it has become the subject of all my research. — Lygia Clark, Writing, Mid-1980s

[artessenziale]

Ana Mendieta

Ocean Bird (Washup), 1974 Flower Person, Flower Body, 1975 Untitled: Silueta Series

[snailmailthings]

Rain Shadows Series, Andy Goldsworthy / Silueta Series, Ana Mendieta

[marita-k-o]

https://www.e-flux.com/projects/66652/utopia-station/

Utopia Station

Curated by Molly Nesbit, Rirkrit Tiravanija and Hans Ulrich Obrist.

Utopia Station is a really interesting curatorial work which is a complex embodiment of relational aesthetics where it is ‘made’ by its participants and exists as a meeting or physical space depending on how it is enacted at different times. It is both conceptual and physical at times. It is a meeting place for people to discuss the idea of utopia, visitors at its station at the Venice Biennale were invited to leave objects. I am especially interested in the possibilities of curating to evade institutions. I would like to explore the possibilities of art and curating as activism in my own work.