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Ek (via laragazzachehapauradisestessa)

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Veniamo al mondo piangendo, e questo mi ha sempre fatto riflettere.
Ek (via laragazzachehapauradisestessa)
And none of us can avoid being affected by design, because it is a ubiquitous element of our world that can determine how we feel, what we do and how we look, often without our noticing. We are able to decide whether or not to engage with many other aspects of daily life: art, literature, theatre, cinema, fashion, sport and music. To some of us, they are irresistible sources of pleasure, while others may find them no more than mildly interesting, or irredeemably dull. Thankfully, we are free to choose the degree to which we will be exposed to each of them. A lot? A little? Not at all? But we cannot escape design, however much we might wish to. All we can do is to try to determine whether its impact on us will be positive or negative, and to do so successfully, we need to understand it, the more thoroughly the better.
Rawsthorn, Alice. Hello World: Where Design Meets Life. London: Hamish Hamilton, 2013. (via carvalhais)
Selva Nevada
We were commissioned to create the brand and packaging for Selva Nevada; An artisan ice cream company that rescues the flavors of Colombian biodiversity. When we tried the products we were immediately transported to the jungle, and we wanted to convey the same feeling through our packaging. We decided to illustrate the Colombian fauna and flora around the packaging with style inspired by Henri Rousseau. The result: Colombia’s jungle in an ice cream.
siegenthaler.co
Mark Rothko
»what love looks like (when you can’t keep the fire burning)« by anatol knotek
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For the past six years, the Danish-Icelandic artist Olafur Eliasson has been working with a color chemist to produce paint pigments that correspond to each nanometer of the visible light spectrum. As he tests his pigments, he creates disk-shaped digital paintings — called the Color Experiment Paintings — that reveal different gradients of the color spectrum. Last year, as part of this series, Eliasson analyzed seven works by the English artist J.M.W. Turner (including “A Disaster At Sea” [c. 1835] and “Burning of the Houses of Lords and Commons, October 16, 1834” [1834–35]) and created corresponding pieces for each that distill Turner’s use of light and color. Eliasson’s Turner Color Experiments — paintings that fade from brown to green and from blue to red — are currently on display at Tate Britainalongside an exhibition of Turner’s late work.
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Jennifer Rubell
http://frieze-magazin.de/archiv/features/dont-believe-the-hype/?lang=en
Robert Rauschenberg was fascinated by Willem de Kooning, and in 1953 asked the artist if he could erase one of his drawings as an act of art. Rauschenberg went over to the master’s studio and said he’d like to erase one of his drawings as an act of art. De Kooning, apparently intrigued, had three...
Rachel Niffenegger
Felix Gonzalez-Torres - Perfect Lovers (1987-91)
This piece means a lot to me. Years back when I first read the title of it I wondered how the artist could conceive of “perfect lovers” as being two persons who are perfectly in sync with one another all the time. No lovers are. Then I read more into it and found out the story, and since then Perfect Lovers has been one of my most favorite works of art of all time.
The artist conceived of Perfect Lovers subsequent to the death of his partner, Ross, who battled AIDS throughout their almost ten-year relationship.
The two identical battery-operated clocks were synchronized and set side by side in the gallery. In the course of the exhibit, the clocks inevitably fell out of sync. The batteries of one of the clocks expired while the other ticked on. The clocks being identical in shape is a subtle allusion to homosexuality.
Some people … say design is about solving problems. Obviously designers do solve problems, but then so do dentists. Design is about cultural invention. There are some people who want to reduce the domain of design to listable, knowable stuff, so it’s easy to talk about. Design is a glamorous, glittering world and this means they can engage without having to actually risk themselves on the outcome of their work. This is damaging. It turns design into something terrified of invention. Design is about risk.
From an interview with Jack Schulze, co-founder of the highly influential studio Berg—a group of designers completely unafraid of the word “invention”. Interview responses #5 and #6 are pure gold. (via craightonberman)
The Role of Emotion in Art Appreciation
"The viewer is invited to become aware of many things when presented with a work of art. The viewer may become aware of the artist who created the work, the intentions of the artist, the life of the artist, or, if this knowledge is unavailable, the viewer may simply have the valuable awareness that the work of art was created by someone for some reason. Equally valuable is an awareness of the context and content of the work. The work was created in a specific time and place, surrounded by a particular social and political context. An awareness of the time, place and context in which it is presently viewed is also important. The work itself contains many possible variables of which the viewer should be aware. The subject, and the extent of the viewer's knowledge of that subject may be a key aspect in understanding the work. In other works, one might pay attention to the aesthetic qualities of the work, the handling of the medium, the skill in the making. Then, the viewer may gain an awareness of the many possible ways in which the work may be read, and of the effect of this knowledge on the viewer's initial gut reaction to the work. This reaction may be influenced by what happened to the viewer just before seeing the work, the state of wakefulness and general health of the viewer, the viewer's choice of breakfast foods, or the viewer's varying emotions.
At any one moment in the experience of viewing art, any combination of these aspects of awareness come together, and should come together, to create a holistic experience. The greatest works of art are those which appear to address, or at least to show the artist's consideration of as many of these variables as possible. The greatest judges of artwork are those who are constantly expanding their awareness, considering as many variables as they can, so that a final judgement may, in fact, never be reached. In any stage of this expanding awareness, it might be necessary, for the sake of organization, to separate out each variable, in order to become aware of them one at a time. For this reason, some viewers may wish to separate their emotions from their readings of the work. It may be helpful to do this for the appreciation of some works, but there is a danger in this thinking, that a hierarchy may develop among the many variables of viewing, and that false sense of separation may occur between them.
A common response in viewing artwork is the sense that the space in a work has meaning, both because it meant something to the artist, and because it means something to the viewer, who takes the time to look at it and respond to it. The response of finding meaning is never without emotion. Just because emotions are susceptible to change, resulting from the influence of stimuli to the mind, body and spirit, does not dismiss the fact that they are always present. They are even the cause of meaning in many works of art. Meaning is a complex interplay between the heart and the soul, and the mind and body, so that it is impossible to tell which part of you the art speaks to, or which part moves another.
Art is a holistic experience. The more we know about a work, and ourselves in relation to the work, the more it means. Objective appreciation somehow eludes us in art, just as we could never claim to appreciate another human being objectively. Our response to art cannot be compartmentalized into categories of awareness, and emotion cannot be separated from the experience, because it cannot be separate from who we are. Our critical awareness of emotions is an important factor in looking at every work of art, but to believe that any experience can be devoid of emotion is ridiculous. And it is not a failing on the part of the viewer, or the even the artist, to feel emotion about a work. In many works, a separation of emotion from the experience is devastating to the meaning of the work. An awareness and understanding of the response evoked by Vincent van Gogh's color and rhythm in The Starry Night is necessary to the experience of the work, but the moment we become overly self-conscious about this awareness, we lose the validity of its emotional meaning. "
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ActivePoetryEvaPartum (by elaguilaediciones)
"The poetic work of Ewa Partum consisted in scattering single alphabet letters into a non-artistic space: be it the open air, sea, or an underpass. This gesture led to the deconstruction of a language whereupon grammatical, syntactic and semantic structures were used to determine certain patterns of an artistic statement. Her poems were shaped by coincidence, which made their language more open and process-orientated. The confrontation with the elements associated with femininity (water, wind) made it possible to face the patriarchal patterns rooted in the language."
Marcel Broodthaers
White Cabinet and White Table, 1965
Nicolas Poillot - spring 11