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I consider myself an artful blogger. What more can I really say?

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    » THIS IS THE BEST THING THAT HAS EVER HAPPENED IN THE HISTORY OF THINGS!!!!!

    Not an exaggeration.

    via natashavc



    Reblogged from my internet is where i want you to touch.

    November 06, 2009, 4:25pm  

    Erwin Redl Dots 2005

    Erwin Redl Dots 2005



    November 06, 2009, 3:46pm  

    » Turner grew his thumbnail long, like an ‘eagle-claw’, so that he could scratch into his washes of watercolour

    via the surprisingly entertaining TATE twitter

    Learn something new, everyday.

    via sympathyfortheartgallery



    Reblogged from Sympathy for the art gallery.

    November 06, 2009, 3:46pm  

    Katharina Grosse

    Katharina Grosse



    November 06, 2009, 3:16pm  

    » First Guggenheim Bilbao, now the Pompidou...

    Forget the lions, tigers and bears. Paris’ Pompidou Center plans to fill a colorful circus big top with Picassos, Matisses and Calders instead, creating a roving museum to take its masterpieces of modern art to France’s culturally deprived rural regions and rough suburbs.

    The so-called “Pompidou Mobile” aims to be just as avant-garde in its design as the original Pompidou Center — the audacious, tube-covered structure that houses the city’s premier contemporary art museum and caused a furor when it opened in 1977.

    Only part of the necessary funding has been raised and no itinerary has yet been drawn up. Visiting the roving Pompidou will be free, and the project’s priorities are rural regions and the poor, crime-ridden suburbs that ring France’s cities but are often largely cut off from the cultural offerings there.

    “It’s about bringing art to the people to awaken their desire to go toward the art,” the Pompidou’s president, Alain Seban, said in a statement. “It’s a sign of our openness.”

    Architect Patrick Bouchain, whose firm specializes in circus tents and other collapsable structures, showed sketches of his design for the new Pompidou structure at a presentation Thursday: several triangle-shaped modules that can be fitted together to create different structures fitted to the different environments in which the museum will pitch its tent.



    November 06, 2009, 2:12pm  

    via standardgrey and jasoncawood

    via standardgrey and jasoncawood



    Reblogged from ;;;;;;;;;;;;;.

    November 06, 2009, 2:06pm  

    “The difference is that in New York they’re cooking for us. [In Los Angeles] they’re cooking for themselves.”

    Jonathan Gold, quoted in this week’s New Yorker, talking about the difference between Chinese food in New York and Los Angeles.  Add that to the arsenal of cultural comparisons next time you’re sucked into that old “NY vs. LA” debate.  New York gets the American Chinese food.  Los Angeles gets the Chinese Chinese food.

    (via spiegelman)



    Reblogged from BUS YOUR OWN TRAY.

    November 06, 2009, 1:25pm  

    Ai Weiwei Indeed this is a shimmering, illuminated spider web (spider included) thrown up to cover the span between buildings in the Town Hall of Liverpool.

via i-peach-feng-shui

    Ai Weiwei Indeed this is a shimmering, illuminated spider web (spider included) thrown up to cover the span between buildings in the Town Hall of Liverpool.

    via i-peach-feng-shui



    Reblogged from The Tao of Dana.

    November 06, 2009, 1:11pm  

    Rob Fischer

    Man, The Hammer has been knocking it out of the park exhibition wise lately.  First the Valentine-Adelson Collection, then the Burchfield, then R. Crumb, Nic Hess is still in the lobby, and now Rob Fischer? Stop, it’s too much! Just kidding, it’s never too much.

    Brooklyn-based artist Rob Fischer finds furniture, windows, mirrors, books, flooring, car parts, and other abandoned materials and reconfigures them to create large-scale sculptural environments that are like monuments to a forgotten past. Fischer’s use of these found materials is a commentary on the lifecycle of objects and how those discarded things will inevitably be reclaimed by nature. While his constructions contain an aura of melancholy and we feel the loss and the weight of the lingering presences of those who used these objects, the sculptures simultaneously acknowledge the possibility for transformation and regeneration. via…



    November 06, 2009, 12:11pm