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Terra Keck, Queen of Lambs, 2012
34 ♥
anneyhall: John Baldessari with Legs Moustache, 1974. Photo by John Baldessari
41 ♥
softpyramid: Ai WeiweiStraight2008–12
steel rebar, dimensions variableFor Ai Weiwei’s new piece at his first US survey at the Hirshhorn, the artist installed steel rebar from the sites of the collapsed schools in which more than five thousand children perished during the 2008 Sichuan earthquake. Now they are simply left in a pile as a (Weiwei-ian) site of meditation echoing Minimalist sculpture and as the artist notes, people’s inability to “stand straight.”
46 ♥
emisfrommarz: Relief prints of Trunk Woodcuts By: Nash Gill
22 ♥
darksilenceinsuburbia: “Art Gallery 2012” http://crooks-lovers.tumblr.com
42 ♥
hurtbytheword: Thomas Lélu
29 ♥
7 ♥
Adam McEwen, Switch, 2009
4 ♥
Ai Weiwei, The Black Cover Book, 1994 Ai Weiwei is widely known as an artist and political activist, but his role as a pioneering publisher is often overlooked. After living in the United States for twelve years, Ai returned to China in 1993. He was met with questions from young artists, who, in a climate of government censorship and a near total lack of access to foreign art books, exhibition catalogues, and art magazines, were eager for information about contemporary art. With artists Xu Bing (whose work is on view in this exhibition) and Zeng Xiaojun, Ai produced The Black Cover Book (1994), which comprises reproductions of iconic twentieth-century artworks by Marcel Duchamp and Jeff Koons, among others, as well as translations of existing art-historical and critical texts, as well as artists’ submissions and essays. The White Cover Book (1995) and The Grey Cover Book (1997), coedited by Zeng, feature more politically oriented content, including works by contemporary Chinese artists and interviews with Barbara Kruger and Jenny Holzer. Three thousand copies of each book were published, quickly spreading throughout China without any official system of distribution. The books were “a means of communicating art conceptually and literally,” the artist explained, and their dissemination underscored the presence of a large underground artists’ network in China. Print/Out at MOMA Feb 19 - May 14, 2012
2 ♥
62 ♥
hawktrainer: ANNA BETBEZE, MILK TOOTH, 2012 ASH, PLASTER AND GESSO COMPOUND, ACID DYES ON WOOL 88 X 52 INCHES (via ANNA BETBEZE : Kate Werble Gallery)
131 ♥
JOSEPH CORNELL, Object (Roses des Vents),1942-53
4 ♥
Leslie Hewitt, Make It Plain, 2006  This is a series of five unglazed color photographsset inside of custom built frames. 
3 ♥
Yves Peintures, Preface de Pascal Claude “I thus seek to individualize color for I have reached the conclusion that each color expresses a living world, and I express these worlds in my paintings. […] There are nuances that are gentle, mad, violent, majestic, vulgar, calm, etc. In short, each color nuance is clearly a “presence,” a living being, an active force that is born and that dies after living a sort of drama in the world of colors.” Yves Klein, presentation text for “Yves: Peintures” exhibition, in Yves Klein USA.
4 ♥
Yves Klein, Monochrome rose sans titre (MP 55), 1955
14 ♥
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