in the random
Company of the wind, to be weightless, nameless.
- Mark Strand, “After Our Planet”, extract

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in the random
Company of the wind, to be weightless, nameless.
- Mark Strand, “After Our Planet”, extract
Peintre de Sotades (attribué à). Vaisselle en forme d'osselet représentant la danse des nuages, Vers 470-450 avant J.C. peint, terre cuité, 0,12 x 0,168 x 0,11 m. Egine (île) (origine). 1860,1201.2. 0,11. Royaume-Uni, Londres, British Museum. Diffusion en Europe sauf Royaume-Uni et Irlande. Photo © The British Museum, Londres, Dist. RMN-Grand Palais / The Trustees of the British Museum
Teresita Fernández. Nocturnal (Diamond Sky), 2009, solid graphite and pencil on wood panel, 48 x 72 x 3 inches
Custode-reliquaire en forme de coeur, 18 ème siècle, argent, textile , 0,047 x 0,047 x 0,016 m. 2002.4.183.p1. Marseille, MuCEM, Musée des Civilisations de l'Europe et de la Méditerranée © MuCEM, Dist. RMN-Grand Palais / Virginie Louis / Anne Maigret
Georges Rouault. Arbre noir sur ciel bleu, 1929, huile sur papier 0,175 x 0,24 m. AM4231(259). Donation de Mme Rouault et ses enfants (Paris) en 1963. Paris, Centre Pompidou - Musée national d'art moderne - Centre de création industrielle © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Philippe Migeat © ADAGP
Je m’évade de mon nid de douleur
découvrant des paysages révélés de l’être
sous le savoureux rêve
du réel
sondant le volcan
où crépitent mille faims et autant de soifs
où gît la couronne
entre le vide et l’infini
- François Baril Pelletier. “AUX RUINES DE L’ÉCUME. Mer naufrage”. Déserts bleus Ottawa: Éditions David, 2015, extract
Adèle Vergé. L'étreinte, date non donnée, résine de couleur noire, 10 x 12 x 17 cm
Sonia Gomes. Untitled, from Risco do Tempo series, 2013 drawing and collage, 20,87 x 17,32 inches
Old Men Emerging from Flowers, ca. A.D. 600–900. Ceramic with blue and orange pigment, a: 3, 9 x 5 x 5, 5 cm (1 9/16 x 1 15/16 x 2 3/16 in.), b: 4, 4 x 5, 3 x 4, 6 cm (1 3/4 x 2 1/16 x 1 13/16 in.). Stephen Carlton Clark, B.A. 1903, Fund. 1973.88.11a-b. The Yale University Art Gallery, New Haven © The Yale University Art Gallery
Purifié par le feu, le souvenir vit dans l'azur comme une belle idée; et la mort n'est plus qu'une naissance immortelle dans un berceau de flammes.
- Maurice Maeterlinck. La Mort, extract. Paris: Bibliothèque Charpentier, p. 24
Antonio Rovaldi. I'll tell you why, 2013. Neón, 8 x 70 x 7 cm. Ed: 2+1 AP
Klara Kristalova, "The long kiss". Stoneware/ Céramique7 3/4 x 7 3/4 x 6 inches, 20 x 20 x 16 cm. Unique
[...] between two facts exists a fact, between two grains of sand no matter how close together there exists an interval of space, a sense that exists between senses- in the interstices of primordial matter is the line of mystery, and fire that is the breathing of the world, and the continual breathing of the world is what we hear and call silence.
— Clarice Lispector, The Passion According to G.H., extract.Translated by Idra Novey. © 1964 by the Heirs of Clarice Lispector New York: New Directions Paperbook, 2012, p.99
Vija Celmins. To Fix the Image in Memory, 1977-82. Stones and painted bronze, eleven pairs. Overall dimensions variable. Gift of Edward R. Broida in honor of David and Renee McKee. 679.2005. The Museum of Modern Art, New York © 2015 Vija Celmins
the wind shifts . . .
I create eternity.
Thunder cracks.
Rain falls on the earth.
Ponç Pons. “Sand Writing”, extract. Translated by Clyde Andrew Moneyhun
Salla Tykkä. White # 17. Series of 25 images, 2009-2011, inkjet print, size varies. © Salla Tykkä
Paul Wong. Full Moon Drawings Neon, 2011.Neon light, 96 x 120 in.