moon moth

[heathwest]

Helen Frankenthaler

[acrylicalchemy]

There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.

Helen Frankenthaler (via acrylicalchemy)

[installator]

“A crew installing Helen Frankenthaler’s painting Guiding Red, 1977…  in the mezzanine of World Trade Center II.“ (aaa.si.edu)

[nycartscene]

opens Fri, Jan 31, 6-8p: KAZUKO MIYAMOTO INVISIBLE-EXPORTS Gallery, 89 Eldridge St., NYC the first solo exhibition in New York, in over a decade, of work by Kazuko Miyamoto, a preeminent feminist figure of minimalism. Born in wartime Tokyo, Miyamoto moved to New York in 1964, studied at the Arts Student League, and soon became assistant to Sol Lewitt… In her early work, (between 1968 and 1972), Miyamoto was primarily a painter of large-scale bichromatic acrylic canvases, works that inflected and, in some ways, undermined formal systems with modest, organic painterly elements. In 1973, the year of her first gallery shows in New York and Italy, Miyamoto embarked on a major nail-and-string wall-based installation at MoMA—the elegant, path-breaking site-specific work which she had been refining for several years as she moved away from painting, and would become her signature work between 1972 and 1979.

[yama-bato]

Kazuko Miyamoto

http://www.bonomogallery.com/?portfolio=kazuko-miyamoto

[magictransistor]

Agnes Martin

[nortonsimon]

HOME AND AWAY: Though the desert plant has become synonymous with Ruth Asawa’s work in sculpture, she was first introduced to the plant by a friend who suggested she draw it instead. In speaking of her difficulties with the task, she said:

 “I started in 1962, when a friend of ours brought a desert plant from Death Valley and said, ‘Here’s something for you to draw.’ I tried to draw it, but it was such a tangle that I had to construct it in wire in order to draw it.”

Asawa’s exercise in creating a sculpture before a drawing resulted in a rich composition that conveys the textures and dimensions of the plant. For the first state, Asawa used two aluminum plates in addition to a stone plate. Orange and yellow inks were applied to the aluminum plates, while pink ink was applied to the stone plate. 

For the second state, Asawa used the stone for Desert Plant along with a second stone plate similarly etched with a desert plant. Red-brown ink was used for the first layer, and for the second layer, registration marks were moved slightly and printed with orange ink. This layered image gives the desert flower a sense of depth and dimension, resulting in the illusion that the flower’s petals are receding and expanding. Viewed from afar, the print could easily be mistaken for one of Asawa’s hanging desert plant sculptures. Home and Away: The Printed Works of Ruth Asawa is on view through January 19, 2015.

[Ruth Asawa (American, 1926–2013), Desert Plant, 1965, First state, Lithograph, Printed by John Rock, published by Tamarind Lithography Workshop; Desert Flower, 1965, Second state, Lithograph, Printed by John Rock, published by Tamarind Lithography Workshop, © 2014 Estate of Ruth Asawa]

[vinylmeplease]

This is a story of why life is better on wax.

I learned about Tinariwen, a hypnotic Saharan Desert blues-rock collective that’s been around since the early 1980s from a friend last month. He put one of their new songs on a mixtape for me, or whatever one calls a collection of songs curated and...

[moonmoth-blog]

beautifully written. thank you. 

[hideback]

Hilma af Klint (Swedish, 1862-1944)

Altarpiece Number 1, Group X, 1907

Hilma af Klint’s paintings are diagrams of a spiritual plane that underlies the visual world. She was a member of a small group of women who would meet to access religious spirits with knowledge of the afterlife. 

Gregor, one of the spiritual masters she contacted during these meetings, said to her that the paintings represent "All the knowledge that is not of the senses, not of the intellect, not of the heart but is the property that exclusively belongs to the deepest aspect of your being […] the knowledge of your spirit."

Altarpiece Number 1 was intended to display in the Goetheanum, Rudolf Steiner’s spiritual center in Switzerland. It never reached this destination, so the painting survived the Goetheanum fire of 1923.

According to her wishes, Hilma af Klint’s paintings were kept secret from the public until 20 years after her death.

[alisaochoa-deactivated20260119]

An excerpt from one of Hilma af Klint's diaries.

[pleasingthings]

I conversed with you in a dream.

Sappho’s fragment 134 (via ozlemhaluk)

[normablackandwhite]

Secret Window by  Marcin Ryczek Fotografia

[radekrogus]

Mikulov - Svatý kopecek

[moonmoth-blog]

Listen/purchase: At The End Of A Winding Day by Hedge Schools

[magictransistor]

Hilma af Klint

Contd from here

[likeafieldmouse-deactivated2015]

[mythologyofblue]

Paul Klee, Memory of a Bird (1932) (via likeafieldmouse)

[nubbsgalore]

circumhorizontal arcs photographed by (click pic) david england, andy cripe, del zane, todd sackmann and brandon rios. this atmospheric phenomenon, otherwise known as a fire rainbow, is created when light from a sun that is at least 58 degrees above the horizon passes through the hexagonal ice crystals that form cirrus clouds which, because of quick cloud formation, have become horizontally aligned. (see also: previous cloud posts)