Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Wednesday, May 22, 2013
Thursday, August 09, 2012
Wednesday, May 23, 2012
Thursday, May 17, 2012
Saturday, May 05, 2012
Monday, April 23, 2012
Thursday, March 29, 2012
Emily Richardson
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Emily Richardson, UK: “Petrolia” (Still), 16mm film, 2005
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- Excerpt of Memo Mori on Youtube
- Emily Richardson website
- Richardson's Cobra Mist [on Orford Ness]
Tuesday, March 27, 2012
Tuesday, May 10, 2011
Cyprien Gaillard, Pruitt-Igoe Falls (2008)
Not the demolition of the St Louis, Missouri housing complex, but a Glasgow tower block in 2008.
From the press release:
As the building collapses, the concomitant dust cloud spreads to cover where the structure once stood and conceals the light emanating from off-camera. This leaves the scene in near blackness before a glow languidly re-illuminates the screen. Only, as the video continues, the emphemeral nebula containing the airborne remnants of the building transform into the monumental downrush of
MIT List Visual Arts Center
Tuesday, April 05, 2011
Wednesday, December 01, 2010
Steve Rowell, Playas, NM
Steve Rowell's Flickr Photostream, including shots taken during Steve's visiting fellowship at Newcastle University in June 2010.
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Department of Homeland Security helicopters and student troops assault empty homes during the inaugural simulation event in December 2004. CLUI photo by Steve Rowell |
Friday, November 19, 2010
Robinson in Ruins (2010)
- Peter Bradshaw's review in The Guardian
- Brian Dillon's piece on Keiller, also from The Guardian
- Spotlight | Robinson in Ruins (Patrick Keiller, UK), Cinema Scope
- 'The Future of Landscape: Patrick Keiller,' interview with Andrew Stevens in 3AM
- Farihah Zaman, 'Home Fires,' Reverse Shot
Friday, August 06, 2010
Monday, August 02, 2010
The Ethics of Dust
Series of installations by Jorge Otero-Pailos undertaken to conserve pollution.
- Jorge Otero-Pailos website
- Interview with Otero-Pailos
- Another interview
Saturday, July 17, 2010
Monday, July 12, 2010
A Dry Porridge
Jean Arp, quoted in Rudolf Arnheim, Entropy and Art: An Essay on Order and Disorder 
(Berkeley: University of California Press, 1971), p. 54:
About 1930 the pictures torn by hand from paper came into being. Human work now seemed to me even less than piece-work. It seemed to me removed from life. Everything is approximate, less than approximate, for when more closely and sharply examined, the most perfect picture is a warty, threadbare approximation, a dry porridge, a dismal moon-crater landscape. What arrogance is concealed in perfection. Why struggle for precision, purity, when they Jean Arp can never be attained. The decay that begins immediately on completion of the work was now welcome to me. Dirty man with his dirty fingers points and daubs at a nuance in the picture. This spot is henceforth marked by sweat and grease. He breaks into wild enthusiasm and sprays the picture with spittle. A delicate paper collage of watercolor is lost. Dust and insects are also efficient in destruction. The light fades the colors. Sun and heat make blisters, disintegrate the paper, crack the paint, disintegrate the paint. The dampness creates mould. The work falls apart, dies. The dying of a picture no longer brought me to despair. I had made my pact with its passing, with its death, and now it was part of the picture for me. But death grew and ate up the picture and life. This dissolution must have been followed by the negation of au action. Form had become Unform, the Finite the Infinite, the Individual the Whole.
(Berkeley: University of California Press, 1971), p. 54:About 1930 the pictures torn by hand from paper came into being. Human work now seemed to me even less than piece-work. It seemed to me removed from life. Everything is approximate, less than approximate, for when more closely and sharply examined, the most perfect picture is a warty, threadbare approximation, a dry porridge, a dismal moon-crater landscape. What arrogance is concealed in perfection. Why struggle for precision, purity, when they Jean Arp can never be attained. The decay that begins immediately on completion of the work was now welcome to me. Dirty man with his dirty fingers points and daubs at a nuance in the picture. This spot is henceforth marked by sweat and grease. He breaks into wild enthusiasm and sprays the picture with spittle. A delicate paper collage of watercolor is lost. Dust and insects are also efficient in destruction. The light fades the colors. Sun and heat make blisters, disintegrate the paper, crack the paint, disintegrate the paint. The dampness creates mould. The work falls apart, dies. The dying of a picture no longer brought me to despair. I had made my pact with its passing, with its death, and now it was part of the picture for me. But death grew and ate up the picture and life. This dissolution must have been followed by the negation of au action. Form had become Unform, the Finite the Infinite, the Individual the Whole.
Dark Places
Exhibition at the John Hansard Gallery, University of Southampton, 24/11/2009 – 23/01/2010. More information on the exhibition available at Arts Catalyst and the Hansard Gallery site.
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