VARIUM, FEMINA

My new babes. Gonna give that lecture for real (I hope).

pawsonmyface:

Compartment Car, Edward Hopper

(Source: nevver)

wesandersonbible:

The Royal Tenenbaums or John 13

wesandersonbible:

Moonrise Kingdom or Genesis 2

THIS IS A THING

notmodernart:

momatalks:

At the conclusion of our Contemporary Art Forum: Art at Large: Art Making in the Long View, we are sharing some reflections on Tumblr. This is the fourth and last post in the series.

In “The Hypothetical Audience,” artist Trevor Paglen and art conservator Glenn Wharton explored how the meaning of an artwork evolves over time. Wharton spoke about his work with artists to document their intentions, since effectively preserving a piece’s meaning over time might actually require actions that seem incongruous with conservation, such as altering the physical work to preserve its desired effect in a given context. Along these lines, Paglen revealed that his intention in The Last Pictures is “deeply paradoxical,” since he aims to both foster dialogue on the included images as representations of society and also reflect on the reality that images are only legible based on  context—an intention that raises questions about what components conservators should preserve.

A number of takeaways emerged, but one stood out in particular: as artists think increasingly broadly about artworks responding to their surroundings in the long term, the field of conservation is becoming more engaged in the process of treating works to avoid simply freezing them in a pristine state. 

The changing conservation paradigm, interesting!

phoebebishopwright:

This is Rose Valland, one of the heroes of Nazi-Occupied France. An employee of the Louvre, she kept records of the art stolen by Nazi officers—what was taken, from where, and by whom. She was instrumental in the postwar return of countless stolen pieces, and one of the most decorated women in French history.

Don’t screw with those who have dedicated their lives to art, a lesson.

(Source: fuckyeahhistorycrushes, via fyeahwomenartists)

indefenseofart:

Wrapped interiors by the art collective Penique productions. The interiors are are wrapped with inflatable balloons and reveal a theatricality inherent to the architectural spaces, sans ornament. Have to admit, I’m a bit reminded of Dexter…

Moved out of my apartment and into another with my man and also home.  

xamounts:

Duane Michaels, Fireflies in my Hands, 1973

razorshapes:

Matisse at work on the Chapelle de Rosaire, Vence (1951)

(via themindofastudentconservator)

blackkittenclan:

The Unfortunate Man  (photographer: Duane Michaels, 1976)

The unfortunate man could not touch the one he loved. it had been declared illegal by the law. slowly his fingers became toes and his hands gradually became feet. he began to wear shoes on his hands to disguise his pain. it never occurs to him to break the law.

scarlettjoys:

siouxsie sioux

(via sp00kymulder)

artlistpro:

Helena Almeida

“The basis of her work is her own body and the loneliness of the study method. They include actions that are recorded in black and white photographs, although their work can not strictly framed within the body art. Subsequently many of these images are implanted with strokes of color or pictures.” - Source

via currentinspiration: