#artangel

[archangelv1]

I cant believe hakita made him give birth

[aromanovad]

Portrait of a seraphim. Pencil, moleskine sketchbook 9x14cm

[a-dream-seeking-light]

cyber-grimes

legacy format repost of a neue format post by @grimesrealm

[paintingyear1lsad]

https://www.artangel.org.uk/project/seizure/

In 2008, Roger Hiorns impregnated an abandoned flat with crystals.

I was very interested in the idea that the artwork would exist aesthetically without my hand, and in me not being present for most of the making. I would put together some kind of basic structure which would then grow into something else, the unanticipated other ... Sculpture is slow, and object-making is very slow. The object is being made, is made by the reaction that happens over time, these materials are introduced to each other. That was interesting to me, instead of processes like welding, sawing and, importantly, the hammer.

(Artangel 2008, p.71.)

[tabrisfam]

Duncan takes Fiona and baby Alistair to visit the Denerim Alienage ft. young Cyrion, Aiwen, and little Nolall Surana (full size)

yall remember how duncan was friends with valendrian? bcs i do and its rly important to me

i could have gone wild with details but i could also have been born an entirely different person so this is all we get

commissions are still open though college started so i dont have as much time on my hands anymore

[issagrimm]

🕊💚✨just need to format for prints then will 🤲🏻reveal

[ddae208c]

https://weheartit.com/entry/236874678

[gagosiangallery]

Back to black: why US artist Taryn Simon is going into mourning

It took Taryn Simon seven years to create her latest installation, which brings together professional mourners from 15 different countries. She explains why the work is as risky as it is moving

Taryn Simon's "An Occupation of Loss" will be performed, in a newly reconfigured iteration, in London from April 17–28. In anticipation of the opening, today's edition of The Guardian includes an interview with the artist, an introduction to the project, and a look at how the installation has changed from its 2016 staging at the Park Avenue Armory:

"There is a tension, [Simon] agrees, between the potency of the experience and the fact that at a funeral the mourners are paid to articulate the grief of those present. 'For the audience to think about how something that seems so pure and private is being shaped and performed scrambles everything.' [...] The work casts light on the ways in which western rituals of collective mourning have increasingly been stage-managed by governments and organised religion to exclude any visceral or disruptive expressions of grief. "