21 8 / 2014

(Source: readitinbooks)

20 8 / 2014

gallowhill:

Henry Flynt installing Logically Impossible Space, 1990

gallowhill:

Henry Flynt installing Logically Impossible Space, 1990

19 8 / 2014

"[I]magine a somewhat peculiar dictionary entry for the word reader. Instead of referring one to the verb with a phrase like “someone who reads,” it says, “you at this moment.” That’s all."

Jacques Derrida, “Reading Between the Blinds,” A Derrida Reader (via heteroglossia)

18 8 / 2014

derangedbutterfly:

Julian Barratt and Noel Fielding, in two of the best photos ever taken of the duo.  like, ever ever.  of all time.  since the camera was invented.  since the world began.  hell, since time began.

…you may have guessed that i’m rather fond of these photos.

x

http://www.thestrangefaceproject.com/

17 8 / 2014

nukeattack:

One of my favorite pieces of Artwork

nukeattack:

One of my favorite pieces of Artwork

16 8 / 2014

artphotocollector:

“Perhaps the reason why Balthus dared to paint the limbs of a young girl was that he was attempting to provoke narrow-minded 20th century notions of eroticism. And so in this photographic series the dual presence of innocence and eroticism points to the objectification of 20th century values, which is itself an important part of the work.” — Hisaji Hara


The Japanese photographer Hisaji Hara’s photographs are reminders of the past with a modern interpretation. By using Balthus’s paintings as inspiration and avoiding any use of digital manipulation, he meticulously constructs his images in camera.  Multiple exposures, smoke machines, cinematic lighting, a vintage interior—all work to create a painterly atmosphere.  These photographs, with their reinterpretations of Balthus’s paintings, challenge us to rethink the relationship between subject and viewer, including our notions of innocence and propriety.

The first European solo show of Hisaji Hara’s work ends this month at the Michael Hoppen Gallery in London.  And for a thoughtful exploration of the exhibit, check out Sean O’Hagan’s review in the Guardian.  —Lane Nevares

15 8 / 2014

The magnificent voice of Miss Sophie Lee at the Spotted Cat New Orleans

14 8 / 2014






I am not a painter, I am a poet.
Why? I think I would rather bea painter, but I am not. Well,for instance, Mike Goldbergis starting a painting. I drop in."Sit down and have a drink" hesays. I drink; we drink. I lookup. “You have SARDINES in it.”"Yes, it needed something there.""Oh." I go and the days go byand I drop in again. The paintingis going on, and I go, and the daysgo by. I drop in. The painting isfinished. “Where’s SARDINES?”All that’s left is justletters, “It was too much,” Mike says.But me? One day I am thinking ofa color: orange. I write a lineabout orange. Pretty soon it is awhole page of words, not lines.Then another page. There should beso much more, not of orange, ofwords, of how terrible orange isand life. Days go by. It is even inprose, I am a real poet. My poemis finished and I haven’t mentionedorange yet. It’s twelve poems, I callit ORANGES. And one day in a galleryI see Mike’s painting, called SARDINES.

I am not a painter, I am a poet.

Why? I think I would rather be
a painter, but I am not. Well,

for instance, Mike Goldberg
is starting a painting. I drop in.
"Sit down and have a drink" he
says. I drink; we drink. I look
up. “You have SARDINES in it.”
"Yes, it needed something there."
"Oh." I go and the days go by
and I drop in again. The painting
is going on, and I go, and the days
go by. I drop in. The painting is
finished. “Where’s SARDINES?”
All that’s left is just
letters, “It was too much,” Mike says.

But me? One day I am thinking of
a color: orange. I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven’t mentioned
orange yet. It’s twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike’s painting, called SARDINES.

13 8 / 2014

Vic Chesnutt: “Even in the darkest days there’s goofy”

"I like to push a song towards the morose and then jerk it back" — Vic Chesnutt

12 8 / 2014

hollyhocksandtulips:

Ann Dvorak

hollyhocksandtulips:

Ann Dvorak

11 8 / 2014

jugtownradio:

ELLA MAE MORSE

jugtownradio:

ELLA MAE MORSE

10 8 / 2014

gorimbaud:

"…you can’t dispose of Mercedes lightly—she has had the two most important women in the US—Greta Garbo and Marlene Dietrich."
mercedes de acosta, we’re jealous.

gorimbaud:

"…you can’t dispose of Mercedes lightly—she has had the two most important women in the US—Greta Garbo and Marlene Dietrich."

mercedes de acosta, we’re jealous.

09 8 / 2014

Scarlatti / Charles Rosen, 1955: Sonata in G major, L.487 - Performed on the Siena Pianoforte

The sound of the piano is unlike any other—by turns a piano, a harpsichord, a banjo, a guitar, a carillon, a harp, a glockenspiel, a lute, etc. It somehow takes on the color of the music it is playing and molds itself to it. No one knows how since it is built no differently than any other piano and is entirely mechanical—no electricity or electronics involved.”;

08 8 / 2014

SOCIALISMO
My name is called Socialism
And I was born in you a good
      long time ago.
But I do grow slow.
And I grew up fighting. But
      always was your best working
      child, and your happiest one.
If I do happen to tear a part
      of your house down on my
      way growing up towards your
      sky, don’t you be afraid.
I’ll fix it back a whole lot
      better than I found it.
I want to raise my own kids
       in a better house.

                               Woody Guthrie
                               January 21, 1948

SOCIALISMO

My name is called Socialism

And I was born in you a good

      long time ago.

But I do grow slow.

And I grew up fighting. But

      always was your best working

      child, and your happiest one.

If I do happen to tear a part

      of your house down on my

      way growing up towards your

      sky, don’t you be afraid.

I’ll fix it back a whole lot

      better than I found it.

I want to raise my own kids

       in a better house.

                               Woody Guthrie

                               January 21, 1948

07 8 / 2014

What I Did Not Notice / Eric Glick Rieman

Prepared Rhodes Electric Piano Improvisation by Eric Glick Rieman
Visual concept and fulfillment by i Visualize This (Kevan Jenson)
Filmed at Berkeley Arts, Berkeley, CA
Feb. 28, 2013 
www.ericglickrieman.com
All copyrights are owned by WatergoesintotheAir / Eric Glick Rieman

www.ivisualizethis.com

Info:
This piece is performed on my Rhodes electric piano, a 73 key Rhodes Stage piano which has been extensively modified. Instead of one output, I have eight to play with. By running these through a mixer, I’m able to effect these interdependent sound sources using electronics (such as the looping used on this piece).

A number of the outputs come from contact mics. These mics amplify the mechanism of the Rhodes, and allow me to use tiny sounds and extended techniques to my advantage.

My Rhodes is also prepared, which means objects are placed inside its mechanism to change the way it sounds.