Les Glaneurs et la Glaneuse

Chris Simpson. Venice yesterday, Paris tomorrow.

Mon, 06 Apr 2009 22:24:01 +0100

Chris Simpson.

Venice yesterday, Paris tomorrow.

Video

Wed, 01 Apr 2009 21:52:20 +0100

This video reminds me of Denver and Capitol Hill, and changing...

Wed, 01 Apr 2009 20:58:03 +0100

This video reminds me of Denver and Capitol Hill, and changing outfits a billion times, just to look effortless.

Claire Neirem. Oh what would I do without etsy?

Wed, 01 Apr 2009 20:41:00 +0100

Claire Neirem.

Oh what would I do without etsy?

Chelsee Ivans.

Wed, 01 Apr 2009 20:19:23 +0100

Chelsee Ivans.

Youtube kicked April Fools' ass

Wed, 01 Apr 2009 18:44:00 +0100

Youtube kicked April Fools' ass

Yay! Yay! Yay! My President in my city!

Tue, 31 Mar 2009 22:53:00 +0100

Yay! Yay! Yay! My President in my city!

“What drives me as an artist is that I think everyone is unique, yet everyone...

Tue, 31 Mar 2009 21:29:00 +0100

“What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. I made a large work called The Reserve of Dead Swiss (1990) and all the people in photographs in the work are dead. We hate to see the dead, yet we love them, we appreciate them. Human. That’s all we can say. Everyone is unique and important. But I like something Napoleon said when he saw many of his dead soldiers on a battlefield: ‘Oh, no problem – one night of love in Paris and you can replace everybody.’”

- Christian Boltanski

Camil Tulcan.

Mon, 30 Mar 2009 00:28:18 +0100

Camil Tulcan.

"Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day To the last syllable..."

Sun, 29 Mar 2009 14:12:03 +0100

“Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”

- Shakes, Macbeth

Mythologies Haunch of Venison 12 March - 25 April Haunch of...

Sun, 29 Mar 2009 14:07:07 +0100

Mythologies

Haunch of Venison

12 March - 25 April

Haunch of Venison will launch its new London exhibition programme at 6 Burlington Gardens this spring with a group exhibition acknowledging the building’s previous role as the Museum of Mankind.

Turning the 21,500 square feet gallery into a giant cabinet of curiosities, ‘Mythologies’ will feature work by over 40 international artists, including major figures such as Ilya and Emilia Kabakov, Sophie Calle, Christian Boltanski, Tony Cragg, Kiki Smith, Bill Viola, Keith Tyson, Simon Patterson and Damien Hirst, alongside emerging talents such as Carlos Amorales, Jamie Shovlin and Nicholas Hlobo.

Evoking the uncanny and extraordinary, as seen in historic anthropological and archaeological collections such as the Pitt Rivers, Hunterian, Petrie, Horniman and Sir John Soane’s Museums, ‘Mythologies’ will trace a labyrinthine journey of discovery whilst invoking a sense of wonder and mystery in one of the most ambitious group exhibitions ever mounted in London by a private gallery. Between 1970 and 1998, 6 Burlington Gardens housed the British Museum’s ethnographic collections and staged exhibitions on subjects ranging from the Mexican Day of the Dead to Japanese Kites. With exhibiting artists from Europe, North and South America, Asia, India, Africa and the Middle East, Mythologies will reflect upon the original ambition of the Museum of Mankind to explain the world and its myriad cultures.

The Haunch of Venison London exhibition programme at Burlington Gardens will focus on both newly commissioned and historically important work from gallery artists, alongside shows from younger, emerging artists largely unseen in London. The exhibitions will be part of the gallery’s broader international programme in London, Zürich, Berlin and New York. Further details on the exhibition programmes are to be announced later in the year.

Saw this show on Saturday… Crush, swoon, sigh, etc.

David Hockney's horror after trees he was half-way through painting are 'massacred'

Sun, 29 Mar 2009 10:50:36 +0100

David Hockney's horror after trees he was half-way through painting are 'massacred' :

(David Hockney’s FML moment.)

I survived my extra long week. Now I get my weekend.

Sun, 29 Mar 2009 00:48:00 +0000

I survived my extra long week.

Now I get my weekend.

"and in the pond broken off from the sky my feeling sinks as if standing on fishes"

Thu, 26 Mar 2009 20:56:35 +0000

“and in the pond
broken off from the sky
my feeling sinks
as if standing on
fishes”

- Rilke via Twombly

Heck yes!

Thu, 26 Mar 2009 09:40:00 +0000

Heck yes!

Joanna Newsom- En Gallop Palaces and stormclouds the rough,...

Wed, 25 Mar 2009 11:31:00 +0000

Joanna Newsom- En Gallop

Palaces and stormclouds
the rough, straggly sage, and the smoke
and the way it will all come together
in quietness and in time

Ode to a day of text.

Wed, 25 Mar 2009 11:03:00 +0000

Ode to a day of text.

leahisawkward: (via cacaococoa)

Wed, 25 Mar 2009 11:02:20 +0000

leahisawkward:

(via cacaococoa)

Photo

Tue, 24 Mar 2009 22:04:17 +0000

John Riddy: Low Relief Photographs of London Frith Street...

Tue, 24 Mar 2009 22:03:00 +0000

John Riddy: Low Relief

Photographs of London

Frith Street Gallery

13 March - 1 May 2009

From the site:

Frith Street Gallery is pleased to announce an exhibition of new work by John Riddy.
This is Riddy’s fourth solo exhibition at Frith Street Gallery and his first to focus on London.

The title Low Relief refers to the artist’s preoccupation with texture and surface, as well as those elements of the urban landscape that somehow provide a measure of relief or reassurance. In particular; natural forms, architecture, paintings and statuary, and the changing nature of both natural and artificial light.

Most of the pictures are taken in Autumn and Winter when the city is stripped of leaves and it’s structures and forms are most apparent. Surfaces are often described in a half-light that mixes the natural and artificial so that the passage of time appears to be both halted and expanded within the image.

As ever with Riddy’s work, the photographs are intentionally descriptive. However, their deliberate and formal construction presents a world that transcends the space and time in which they were made. The vista might have been dreamt, half remembered, or assembled for the purpose of making the photograph, and although people are rarely to be seen, the evidence of their actions both past and present is clear.

A classical structure of fore, middle and background positions the viewer as in a theatre before a stage, and allows buildings as varied as the Bank of England, The Garrick Club and a South London Housing Estate to be presented equally. This frontal view connects the pictures, and as a group they form a kind of aide-memoire to a journey taken.

Sign me up.