LAURA PHAN

A place of ideas, inspiration, and visual simulation.

[gracefulchild]

“Walking through”, Drawing study, pencil crayon on paper, 2021

[finn-wilkie]

Sverre Fehn, Prøvehus, Norrköping, 1992

en.wikipedia.org/wiki/Sverre_Fehn/

[hisafoto]

神戸市場めぐり

[escapekit]

Salvaged Refugee Life Vests Installation 

Ai Weiwei has created a temporary art installation on the facade of Berlin’s Konzerthaus. The installation includes a collection of 14,000 life vests from refugees who landed on the Greek Island of Lesbos. The piece was created for the Cinema for Peace gala which took place February 15, 2016. Ai was the honorary president of this year’s jury

[sculpturegallery]

by Ai weiwei

[cafeinevitable-deactivated20220]

Artwork by Ai Weiwei

[bikedweeb]

(via tokyo 3-11-09 5 | Ai Weiwei exhibit in Tokyo, Japan. This pi… | Flickr)

tokyo 3-11-09 5 Ai Weiwei exhibit in Tokyo, Japan. This piece is called “Forever”… and it’s made of Forever brand bikes from China.

[noosphe-re]

Human Flow, Ai Weiwei

[sophiegunnol]

AI WEIWEI  I  BANG 

[nobrashfestivity]

Ai Weiwei, Fuck off

[pearl-nautilus]

Inconstant Moon: CY TWOMBLY

[a-la-belle-e-toile-deactivated2]

Cy Twombly - Il Parnasso, 1964, oil paint, wax crayon, lead pencil, colored pencil on canvas, 80 ¾ x 85 7/8

© Cy Twombly Foundation. Photo courtesy Gallery Heiner Bastian

[psikonauti]

Cy Twombly (1928-2011) School of Athens ,1961 Oil, oil-based house paint, coloured pencil and lead pencil on canvas

[nobrashfestivity]

Cy Twombly, Untitled, Oil on paper relined on canvas

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[setdeco]

CY TWOMBLY, Home and Studio, Rome, Italy, 1966, Photography by HORST B. HORST

[pouruneinfantdefunte]

366 - Emily Dickinson’s Miraculous Year - Spencer Finch “This work is based on the year 1862, Emily Dickinson’s annus mirabilis, when she wrote an amazing 366 poems in 365 days. It is a real-time memorial to that year, which burns for exactly one year….” -Sarah Urist Green

[zypxtflo-blog]

Spencer Finch, “Trying to Remember the Color of Jackie Kennedy’s Pillbox Hat" 

Saul Anton writes:

Finch is unafraid to inhabit the paradox that art exists in the play between language and perception. What many artists and theorists find unbearable, literally, the ‘speaking against itself’ implied in para-doxa, is for Finch less something to escape than the very condition necessary for his art practice. That is why his work demonstrates a Proustian interest in the difficulties and disappointments of recollection. He knows that color lies at the boundary of what we see and what we remember. Despite the thick red line of humor that runs through his work, Finch’s projects are always laced with the acute pathos of someone disappointed by both perception and language and by their mutual exclusivity and incompatibility. "There is always a paradox inherent in vision, an impossible desire to see yourself seeing. A lot of my work probes this tension; to want to see, but not being able to,” Finch says in a catalogue for a 1997 show at the Wadsworth Atheneum in Hartford, CT. Color is less a trope of indeterminacy than a way to re-create an almost visceral experience of our impossible desire to name our perceptions.

-Excerpt from Artforum, pp. 124-127, April 2001