KerschCulture

[ripe]

[ralfmaximus]

This is what I hope I see when I die.

[libertyninteriors]

[immafuster]

Anselm Kiefer - Les extases féminines, 2013, watercolor on paper, 65 ¾ × 60 5/8 inches (167 × 154 cm) Photo by Georges Poncet.

[geographicwild]

. On the Cat Walk. Photography by @ (D. Banks). This Snowy Egret is walking on the rail of a pier over the Atlantic Ocean in Florida.#snowyegret #Florida #Egret #walking

[adrasteiax]

“I wish I could create a symphony from the sound of waves, from the secret whispering of a pristine forest, from the twinkling of stars, from our songs and my great nostalgia.”

— M.K. Ciurlionis’ letters to Sofia, Saint Petersburg, 1908.  (via mirroir)

[myjetpack]

My cartoon for yesterday’s Guardian p.s. my book #BakingWithKafka is out now: goo.gl/qKMNdF

[kerschculture]

at Lands End/Sutro Baths

[lacloserie]

[elardor-deactivated20230918]

[blueblackdream]

Kate Bush, Tokyo, June 1978

[kerschculture]

[hyperallergic]

Hank Willis Thomas’s contribution to New York magazine’s “My New York” campaign (courtesy the artist and New York Media)

(via Art Movements)

[tenderstems]

Luca Guadagnino’s home outside of Milan

[fadensonnen]

In the dark times, will there also be singing? Yes, there will be singing. About the dark times.

Bertolt Brecht, “Motto”

[kerschculture]

Swan’s way #iceland (at Tjörnin)

[kerschculture]

(via The Cover Mix: Björk)

[arpeggia]

[disease-deactivated20210414]

Romain Crelier - La Mise en Abîme, 2013, used oil, metal, at the Abbey-church of Bellelay, Switzerland

“Entitled La Mise en Abîme, the mesmerising installation comprises two large, extremely precise and impeccably finished receptacles in which vast quantities of used oil are contained. Shaped like giant puddles, the sculptures with their shiny, and lacquer surfaces (thanks to the expressive properties of oil) reflect the surrounding, allowing the viewers to interact with the architecture of the church by being pulled into the reflection so that they, in turn, become part of the sculpture itself. The installation not only dispenses multiple visual thrills and mysteries but also offers a moment where sculpture creates another reading of space.

Working in a scale simultaneously monumental and intimate, these sculptures continue Crelier‘s career-long exploration of the space through conceptual engagement with buildings as well as his experimentation with light and dark, form and void, inside and outside, surface and depth, abstraction and figuration, reflection and absorption.” [We Find Wildness]