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Arthur Dove, Foghorns, 1929

Arthur Dove, Foghorns, 1929

Sean Scully
Louise Bourgeois, The Fabric Years 

Louise Bourgeois, The Fabric Years 

Alberto Giacometti, untitledPhoto by Eli Lotar

Alberto Giacometti, untitled
Photo by Eli Lotar

Philip Guston, Untitled, 1951-1952

Philip Guston, Untitled, 1951-1952

(via snowonredearth)

Rick Copsey - Paintscapes (2012)

"The Paintscapes series presents photographs of wet paint that seem to circumvent the inherent ‘truth’ of the camera as the apparent verisimilitude of each image renders problematic what constitutes reality.

As illusions, the Paintscapes works mirror Kant’s idea of the sublime in nature as ‘formless and shapeless’ such as the ocean or the sky; as such, they associate the viscous flows of paint with the amorphousness of the sea.

The allusion to the Kantian sublime is a Postmodernist attack on Modernism’s exaltation of pictorial form as finite; instead, the sublime can be infinite as well as formless. As works that manifest the sublime, their condition as a hyperreality presents what appear to be representations of various sea scenes as images without referents where reality and illusion are brought into question.”

Henri Michaux

Henri Michaux

(via purgingdistance)

Made by the Mbuti pygmy of the Ituri Forest, this textile is made by beating a layer of tree bark until it is thin and pliable. The women choose the tree and the preparation and beating are done by men .The women then paint the designs, which are often symbolic, using a mixture of charcoal and fruit juice.

Made by the Mbuti pygmy of the Ituri Forest, this textile is made by beating a layer of tree bark until it is thin and pliable. The women choose the tree and the preparation and beating are done by men .The women then paint the designs, which are often symbolic, using a mixture of charcoal and fruit juice.

(via purgingdistance)

[A]s for nature and more profoundly the subjectivity of living individuals, their reality is entirely foreign to economic reality. The deployment of the subjective powers of one’s living body—for example, to walk, run, breathe or even to suffer, love, think, imagine—is not economic at all. Likewise, all kinds of things—stones, trees, the air, or the sea—have nothing economic about them either. This is why it is necessary to delineate unequivocally the relation between life and the economy and to understand them through their complete heterogeneity. Economics stands outside of reality; reality stands outside of economics.  

Michel Henry, From Communism to Capitalism, pg. 60

Georgia  O’Keeffe, Tent Door at Night, c.1915

Georgia  O’Keeffe, Tent Door at Night, c.1915

(via nobrashfestivity)

The piano ain’t got no wrong notes.
— Thelonious Monk
Míro

Míro

Agnes Martin, wind fence sculpture(N.B. the teepee is not part of the sculpture)photo: Arne Glimcher

Agnes Martin, wind fence sculpture
(N.B. the teepee is not part of the sculpture)
photo: Arne Glimcher

Philip Guston, Voyage, 1956oil on canvas

Philip Guston, Voyage, 1956
oil on canvas

Richard Tuttle - Mandevilla 3, 1998

Richard Tuttle - Mandevilla 3, 1998

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