joereorda:

RACHEL WHITEREAD FOLDED, 2004 Plaster 4 x 11 1/2 x 15 1/4 inches  (10.3 x 29 x 39 cm)

joereorda:

RACHEL WHITEREAD
FOLDED, 2004
Plaster
4 x 11 1/2 x 15 1/4 inches
(10.3 x 29 x 39 cm)

(via lafilleblanc)

asolitarycomfort:

Roni Horn

asolitarycomfort:

Roni Horn

mentaltimetraveller:

Louise Bourgeois

mentaltimetraveller:

Louise Bourgeois

Gabriel Kuri

Gabriel Kuri

museumuesum:

Stuart Munro

museumuesum:

Stuart Munro

nrosendorf:

Otto Piene  Laasphe/Westphalia 1928
UNTITLED 1962   
 The smoke drawings are without ‚handwriting’. Anonymity of the author is widely sustained. My individual moods do not seek prominence; play a minor role only (except for heightened awareness, i.e., sensibility). I think that my artistic involvement, particularly because of my observing distance to my actions, is at least as strong as with drawing in a commonly accepted sense. It is above all in the observing, in the strategy of directing the means. I would gladly withdraw into the background even further, make my author’s individuality felt even less, let the force of light work even more authoritatively - in order to further suspend materiality and thusly gain greater freedom. I hope to reach - with a minimum of physical engagement, far removed from any drama - or space of silence, which - because it makes itself felt intensely - invites us to stay“ (Otto Piene in: Otto Piene, Ölbilder, Rauchzeichnungen, Lichtmodelle, Lichtballet, exhib.cat. Galerie Diogenes, Berlin 1960, quoted from: Ante Glibota, Otto Piene, Paris 2011, p.106).

nrosendorf:

Otto Piene  
Laasphe/Westphalia 1928

UNTITLED 1962   

 The smoke drawings are without ‚handwriting’. Anonymity of the author is widely sustained. My individual moods do not seek prominence; play a minor role only (except for heightened awareness, i.e., sensibility). I think that my artistic involvement, particularly because of my observing distance to my actions, is at least as strong as with drawing in a commonly accepted sense. It is above all in the observing, in the strategy of directing the means. I would gladly withdraw into the background even further, make my author’s individuality felt even less, let the force of light work even more authoritatively - in order to further suspend materiality and thusly gain greater freedom. I hope to reach - with a minimum of physical engagement, far removed from any drama - or space of silence, which - because it makes itself felt intensely - invites us to stay“ (Otto Piene in: Otto Piene, Ölbilder, Rauchzeichnungen, Lichtmodelle, Lichtballet, exhib.cat. Galerie Diogenes, Berlin 1960, quoted from: Ante Glibota, Otto Piene, Paris 2011, p.106).

(via artspotting)

art-blag:

Louise BourgeoisClutchingPlaster1962

art-blag:

Louise Bourgeois
Clutching
Plaster
1962

(Source: tate.org.uk)

likeafieldmouse:

Catherine Opie - Untitled #7 (Surfers) (2003)

likeafieldmouse:

Catherine OpieUntitled #7 (Surfers) (2003)

artspotting:

Gabriel Kuri, Installation view,  punto y línea en el altiplano, Galleria Franco Noero, Turin via mousse magazine

artspotting:

Gabriel Kuri, Installation view,  punto y línea en el altiplano, Galleria Franco Noero, Turin via mousse magazine

(Source: wwwvwv)