I went to the MCA in Chicago yesterday with my family and my brothers matched these paintings and then this happened.
(Source: pine-cypress, via popfry)
THIS is an extremely interesting entry by Arden Sherman, a curator/writer focusing on the history of exhibition documentation photography.
Among other things, he talks about how, until as late as the 1980s, museums regularly incorporated potted plants into their gallery spaces:
“The infamous “white cube,” first articulated in the early years of MoMA, would regularly incorporate a plant (or three) into its cool geometry during its first few decades. Modern art museums only began to exile greenery in the late 1960s; by the mid-1980s it was as if they’d never been there.
Perhaps paradoxically, in the very moment of plants’ eviction, artists began to incorporate living matter into their work.”
Be sure also to check out Sherman’s blog MISE EN GREEN, which is probably my single favorite website at the moment.
http://blog.sfmoma.org/2013/01/proposal-for-a-museum-arden-sherman-mise-en-green-2
(via photographsonthebrain)
Upstanding lettering
Yulia Brodskaya is well-known for her paper graphics or ‘quilling’ (rolled paper glued on it’s edge). The ‘O’above was created for Oprah’s magazine which also featured an article about Yulia and her work.
She revealled that since she’d designed the cover of a holiday supplement for The Guardian newspaper (UK) in 2008, she’s “never been out of work since”. She also said that she’d like to do more “live” pieces where people can see the work itself, not just photos of it. This seems to have happened this year when she created a huge installation in Shanghai.
See an earlier post about Yulia’s work
3D-printed Guy Debord action figures (2012). Produced by McKenzie Wark, design by Peer Hansen, with technical assistance by Rachel L.
A Cavalier History of Situationism: An Interview with McKenzie Wark
One of the premises of The Spectacle of Disintegration is that there’s the myth of the overcoming of the spectacular form in the age of the Internet, but what it does is make it microscopic and distribute it throughout the entire media sphere, so we now have micro-spectacular relations rather than one big macro one. So if you think about the old culture industry, everybody was critical of it, but at least it fucking entertained us! You would have all those flaws that Adorno spoke about, the extorted reconciliation of the ending, the equivalence of exchange values, but at least it was offered to you as something to consume. We’ve moved from the era of the culture industry to what I would call the vulture industry, which is companies like Google. I mean, in terms of culture, they don’t make shit. They just allow you to get to stuff that somebody else made. So now we have to even entertain each other. Go on, make some cat videos! So there’s a sense that on one side there’s the outsourcing of the production of the thing, and on the other what I would call the insourcing of the production of the affect. It becomes everyone’s job, but no one is to expect to get paid for it anymore. It was always a struggle if what you wanted to do was be a creative person, to make any living at all. I don’t know if that got any worse. It was always terrible. But the conditions of its terribleness change with each technical evolution. - Wark
New Material (John Preus, Leroy Bach, Tadd Cowen, and Mikel Patrick Avery) perform on musical instruments based upon defunct furniture parts. Part of the Exhibition, You Complete Me, which was on view at the DeVos Art Museum at Northern Michigan University in the fall of 2012.
