Sélavy @selavyart - Tumblr Blog

enidsinclair

Audrey Hepburn on the terrace of the Restaurant Hammetschwand in Switzerland, circa 1955.

laurapetrie

Audrey Hepburn in a hair test for War and Peace

moma

Erased de Kooning Drawing

What do you need to transform a de Kooning into a Rauschenberg? 1 month and 40 erasers. In 1953, Rauschenberg asked artist Willem de Kooning, an Abstract Expressionist painter whom he admired, for a drawing to erase. De Kooning agreed, selecting a drawing that he thought would be particularly difficult to rub out. Rauschenberg claimed that it took him a month, and about 40 erasers, to complete the job. He kept the erased drawing in his studio for two years. In 1955, when he was invited to submit a drawing to show at the Elinor Poindexter Gallery, Jasper Johns persuaded him to exhibit it. Johns placed the drawing in a gold frame and produced the work’s inscription. See more Rauschenberg: Among Friends collaborations at mo.ma/2s54Npr. … [Robert Rauschenberg with Willem de Kooning and Jasper Johns. Erased de Kooning Drawing. 1953. A de Kooning drawing, graphite, and other media on paper, erased by Rauschenberg and mounted in a gilded wood frame with label inscribed using a metal template in blue ink on paper by Jasper Johns. San Francisco Museum of Modern Art. Purchase through a gift of Phyllis C. Wattis. Photo: Ben Blackwell. © 2017 Robert Rauschenberg Foundation]

nymphastral

Portrait of Amalia von Schintling by Joseph Stieler, 1831 (detail)

undersurfacetension-blog-blog

tseneipgam

Still lives by Wolfgang Tilmans

“There is a glass box on the studio roof, the top of a translucent staircase, which Tillmans has made into a lookout post. A mattress lies on the floor with a white sheet and Khalil Gibran and Richard Sennett books by the pillow; two telescopes face out towards the city. When it’s not too hot or too cold, he spends nights here, observing the sky. “Something interesting is happening: pictures are replacing words as messages,” Tillmans says of selfies and restaurant Instagramming. “You could trace these elements to work I did 20 years ago, and obviously I am not responsible for that, but that sense that there is some significance in a piece of clothing on the floor. I cannot bitch about millions of people who photograph their food. But I didn’t photograph plates or still lifes to show my friend: ‘Look! I’ve just eaten this banana!’ I really didn’t, but I was accused in the 90s by critics that this was shallow, vacuous, unimportant subject matter.”

(from here)