Is

The best lack all conviction, while the worst are full of passionate intensity

[abridurif]

Robert Morris, Blind Time V

[christopherfavaleworld]

Robert Morris Labyrinth

[poetryconcrete]

Observatory, by Robert Morris, 1977, in Oostelijk Flevoland, Holland.

[archidose]

Sarah Sze

Garden of Stuff

[joestracci]

Decay is just the material’s revenge for being extracted from the earth.

Sarah Sze, paraphrasing the Gutai Manifesto (via joestracci)

[jonasgrossmann]

herbert matter… alexander calder’s roxbury studio, 1941 @ telegraph

[moodboardmix]

Model of Alexander Calder Mobile by Matt Granick.

[exasperated-viewer-on-air]

Rachel Harrison - 7 Magnum, 2015

wood, polystyrene, chicken wire, cement, acrylic, Eagle Magnum Lead shot, selfie stick, and display phone

85 ½ x 56 x 22 inches (217.2 x 142.2 x 55.9 cm)

[paysagemauvais]

Judith with the Head of Holofernes, detail - Peter Paul Rubens (1577–1640) circa 1616 oil on canvas 120 cm x 111 cm Herzog Anton Ulrich Museum, Braunschweig, Lower Saxony.

[lionofchaeronea]

Self-Portrait of the Artist and His First Wife, Isabella Brant, in the Honeysuckle Bower, Peter Paul Rubens, ca. 1609

Happy birthday to Peter Paul Rubens, born on this date in 1577.

[kirgiakos]

Albrecht Durer - Study Of Drapery , c.1521

[quotemadness]

When a person can’t find a deep sense of meaning, they distract themselves with pleasure.

Viktor E. Frankl (via quotemadness)

[easterhay-blog]

Raoul Coutard

[redlipstickresurrected]

Alice Maher (Irish, b. 1956, Kilmoyler, Republic of Ireland) - Ombre II, 1997  Drawings: Charcoal on Paper

[avagardner]

Jean Seberg on the set of A Bout de Souffle, 1959.

[queercontemporaryart]

Julie Mehretu, Stadia, 2004.

“We talk regularly now of a world increasingly out of control, beyond comprehension; this is Mehretu’s world. There are disasters, certainly - among them a proliferating information culture, sublime in the scale of its urgency and apparent omniscience, that reinforces a hysteric fear of being overwhelmed, overstimulated and utterly unable to maintain a grasp on our lives. Everything is happening everywhere but we’re missing it because we can only be here. However, Mehretu’s ‘narrative maps without a specific place or location’, as she terms her paintings, allow us to be nowhere and everywhere at the same time.2 She takes the position of Walter Benajmin’s famous angel of history, looking at this world as an accumulating wreckage of events, its strata piled up yet transparent, a chain of events both painterly and referential that are collapsed into a single catastrophe.3 In our despair she is our angel, offering  a view that, while utterly decontextualised, feels sympathetic. Her provision of the appearance of an overwhelming amount of data from a safe distance keeps the chaos from being threatening, even at the enormous scale at which she sometimes works.”

– Peter Eleey

[cavetocanvas]

Susan Hiller, Witness, 2000. Hundreds of small speakers are suspended from the ceiling, each one playing a personal account of a sighting of a UFO, creating a murmuring soundscape.

Copyright, Susan Hiller; Courtesy, Timothy Taylor Gallery, London.