kassadaga

23. portland. art & design.

[bildwerk]

Hans Arp, Dada, 1919

[design-is-fine]

Hans Michel & Günther Kieser, graphic artwork for program booklets / jazz concerts, 1959-61. Offenbach, Germany. Via Buerchersuite.de / Source

[philamuseum]

Happy birthday to Jackson Pollock (1912–1956)! Famous for his drip paintings, Pollock was a highly influential artist in the emotion-packed movement of abstract expressionism. How does “No. 22” make you feel? “No. 22,” 1950, by Jackson Pollock © Pollock-Krasner Foundation / Artists Rights Society (RS), New York

[magictransistor]

Man Ray. Sara and Gerald Murphy at a costume ball in Montparnasse. 1922.

[blueblackdream]

Man Ray, Selma Browner, 1940s

[artsnquotes]

To create is divine, to reproduce is human.

Man Ray  (via wnq-art)

[last-picture-show]

Hans Bellmer, La Poupée, 1935

[last-picture-show]

Man Ray, Terrain Vague, 1929

[last-picture-show]

Hans Bellmer, Untitled ( Hands Triptych), 1933

[imshootingfilm]

Untitled by sara.robin meanwhile the white roses were turning red …

[thomassprott]

Cholla Cactus Garden, Joshua Tree, CA

[rudygodinez]

James Turrell, Mendota Stoppage (1969-1974)

Turrell’s Mendota Stoppages involve multiple exposures that track shafts of light through his Mendota studio The process is reminiscent of Moholy-Nagy’s Bauhaus experiments with light, and akin to that of the camera obscura. Turrell’s Mendota Stoppages are grainy and blurry, documentary evidence of the sun passing through the sky on a day in the late sixties in Ocean Park.

The Mendota Hotel years were the greatest revelation of the “summer of Turrell”. The work there anticipated what would become Turrell’s decades-long concerns: site-specificity, absence as fullness and the subtle manipulation of perceptual experience.

[nevver]

Light therapy

[vagues-vagues]

“My work has no object, no image and no focus… You are looking at you looking.” — James Turrell

[francofrancomus]

Clara Rockmore.

[ruiraiox]

Clara Rock­more (March 9, 1911 – May 10, 1998) was a pio­neer in elec­tronic music. Her artistry and tech­nique on the theremin put her in the same league as some of the other leg­endary women instru­men­tal­ists of 20th cen­tury — musi­cians like pianist Dame Myra Hess, the great Pol­ish harp­si­chordist Wanda Landowska. From a very early age, Clara was an accom­plished young vio­lin­ist but as it turned out, she even­tu­ally had to aban­don the instru­ment because of chronic phys­i­cal dif­fi­cul­ties due to child­hood mal­nu­tri­tion and she took up the theremin. Later in her life she said that Leon Theremin saved her “musi­cal san­ity” by intro­duc­ing her to the theremin. She had extremely pre­cise, rapid con­trol of her move­ments, impor­tant in play­ing an instru­ment that depends on the performer’s motion and prox­im­ity rather than touch. She also had the advan­tage of work­ing directly with Léon Theremin from the early days of the instrument’s com­mer­cial devel­op­ment in the United States. It is easy to under­stand why Leon Theremin, the inven­tor of the instru­ment that bears his name, was deeply in love with Clara. Apart from being bril­liantly tal­ented as a musi­cian and therem­i­nist, she was strik­ingly beautiful. Clara Rock­more died in the spring of 1998 leav­ing a small but impor­tant legacy of her record­ings which include The Art of Theremin (pro­duced by Robert Moog in 1977) and a stun­ning, live, 1945 per­for­mance of the Con­certo for Theremin and Orches­tra by the Amer­i­can com­poser Anis Fulei­han (with the orches­tra under the direc­tion of the great Leopold Stokowski). Both these record­ings have been reis­sued on CD.

[graphicdesignblg]

Mill Collage by Jonathan Ogden