May 8, 2017
Loved @Adriana show at @kimberlyklarkforever (at Kimberly-Klark)
seen from Hong Kong SAR China
seen from Portugal
seen from Netherlands
seen from United States
seen from China
seen from China
seen from United Kingdom
seen from United States
seen from Türkiye
seen from United States
seen from United States
seen from Türkiye
seen from Türkiye
seen from China
seen from United States
seen from Türkiye
seen from South Korea
seen from North Macedonia
seen from United States
seen from United States
Loved @Adriana show at @kimberlyklarkforever (at Kimberly-Klark)
zine printed in conjunction with the exhibition Dusty Contessa Finds a Homstead at Kimberly-Klark
Transmitter loved stopping by the opening of Kimberly-Klark’s new show Bad Windchime featuring some rad work by Dayton Cattleman and Alix Jean Vollum, Cole Prentice, David Sherman among others.
(via Bad Windchime | Kimberly-Klark)
In 1936, the Museum of Modern Art showcased a project by the famed photographer Edward Steichen that featured work not in his expected medium, but Delphiniums he had bred himself at Umpawaug, a farm he owned in Connecticut. Considering this show today, embracing horticulture as art in an institution is surprisingly inclusive, but it also raises questions about the status of Steichen’s photographs of his flowers. Are they documentation of artworks, or the primary artwork themselves? Are they ways to extend and experiment with the image of a flower he had a hand in creating? His various creative pursuits mirror the pluralism artists find themselves working in today, making work within a stream of reproductions, alternate versions, and duplicates.
Cut, Paste, and Blossom