VARIUM, FEMINA

pawsonmyface: Compartment Car, Edward Hopper

Thu, 23 May 2013 01:21:49 -0500

pawsonmyface:

Compartment Car, Edward Hopper

wesandersonbible: The Royal Tenenbaums or John 13

Wed, 22 May 2013 16:53:54 -0500

wesandersonbible:

The Royal Tenenbaums or John 13

wesandersonbible: Moonrise Kingdom or Genesis 2 THIS IS A...

Wed, 22 May 2013 16:50:47 -0500

wesandersonbible:

Moonrise Kingdom or Genesis 2

THIS IS A THING

notmodernart: momatalks: At the conclusion of our Contemporary...

Tue, 21 May 2013 19:38:57 -0500

Glenn Wharton at Contemporary Art Forum 2013. Photo by Paula Court

Trevor Paglen at Contemporary Art Forum 2013. Photo by Paula Court

Wharton and Paglen at Contemporary Art Forum 2013. Photo by Paula Court

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...

Tue, 21 May 2013 19:32:40 -0500

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.

indefenseofart: Wrapped interiors by the art collective Penique...

Fri, 17 May 2013 16:47:48 -0500

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...

Fri, 17 May 2013 16:41:15 -0500

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

Audio

Fri, 17 May 2013 16:10:00 -0500

xamounts: Duane Michaels, Fireflies in my Hands, 1973

Thu, 16 May 2013 21:11:45 -0500

xamounts:

Duane Michaels, Fireflies in my Hands, 1973

begbegbegbeg:

Thu, 16 May 2013 21:08:22 -0500

begbegbegbeg:

razorshapes: Matisse at work on the Chapelle de Rosaire, Vence...

Thu, 16 May 2013 17:48:25 -0500

razorshapes:

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

blackkittenclan: The Unfortunate Man (photographer: Duane...

Tue, 14 May 2013 23:20:10 -0500

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

Tue, 14 May 2013 23:19:00 -0500

scarlettjoys:

siouxsie sioux

artlistpro: Helena Almeida “The basis of her work is her own...

Tue, 14 May 2013 23:18:52 -0500

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:

metamorphosistwo: Sandro Botticelli: Madonna and Child with...

Tue, 14 May 2013 07:11:56 -0500

metamorphosistwo:

Sandro Botticelli: Madonna and Child with Siinging Angels (détail), around 1477.

ryandonato: Martin Creed

Mon, 13 May 2013 23:50:53 -0500

ryandonato:

Martin Creed

Audio

Mon, 13 May 2013 17:25:43 -0500

blackpaint20: Witches’ Sabbath (Aquelarre is the Spanish word...

Mon, 13 May 2013 17:25:37 -0500

blackpaint20:

Witches’ Sabbath (Aquelarre is the Spanish word for a Witches’ Sabbath) 1798 by Francisco Goya

indefenseofart: Just when I thought I couldn’t fall in love...

Mon, 13 May 2013 17:03:51 -0500

indefenseofart:

Just when I thought I couldn’t fall in love with Basquiat any further: Jean-Michel Basquiat’s illustration for Maya Angelou’s children’s book, Life doesn’t Frighten Me (1993), aka an artnerd’s dream collaboration. I’m absolutely turning Basquiat’s T-rex into a tattoo.

artistandstudio: Before Claes Oldenburg’s “Floor Burger” (1962)...

Sun, 12 May 2013 01:41:05 -0500

Claes Oldenburg, Floor Burger (1962), canvas filled with foam rubber and cardboard boxes, painted with acrylic paint.

The “stuffing” found inside one of Floor Burger‘s layers: chunks of foam and ice cream boxes.

artistandstudio:

Before Claes Oldenburg’s “Floor Burger” (1962) arrives at MoMA for a survey of the sculptor’s work from the 1960s and ’70s, it is undergoing an extensive restoration at its home, the Art Gallery of Ontario (AGO).

AGO conservator Sherry Phillips works painstakingly to consolidate the flaking paint layers.