"Rather than training your hand and eye while cultivating your mind, you can now pay to learn to talk your way into the field of art. Before you allow yourself to be convinced that you don’t need to know how to make anything anymore to succeed in art, consider what it would be like to work with language and ideas as materials, after learning about centuries of history of physical engagement with materiality and being left with nothing to play with but language as a result of the de-skilling of art education for institutional profit. In the real world, even conceptual artists like their studio space."

Coco Fusco, “The Art School Game” for Modern Painters (December 2013)

(Source: tobia, via wine-loving-vagabond)

sisterwolf:

Artuš Scheiner 

gregmelander:

GAUDI CHAIR

"Gaudi Chair, by Dutch designer Bram Geenen. Beautiful to see and technically quite interesting: the stucture has been based on using the same methods as Antoni Gaudi (models hanging upside down show the strongest arches) and the nylon structure has been 3D-printed (selective laser sintering)."

(via kasike)

Rest in Peace, Ms Turbeville…

"Deborah Turbeville passed away yesterday (24th of October) at the age of 76. Since the start of her career she worked with Vogue Italia revolutionizing fashion editorial criteria through a dreamy and feminine aesthetic: her pictorial images are the reminiscence of an impressionist dream, the world she evokes through them – lyrical, evanescent, mysterious and, at times, subtly unnerving. Her photographs seem to unveil the inner world of the women she portrays though, through them, Turbeville unveils even more about herself and her view on life.




Despite being born and raised in the US, her inner references belong to the old continent: the landscapes portrayed in her photos suggest the intense and numbing cold of Nordic countries and the grace and austerity of ancient noble palaces – the decadent charm of the Old World is ubiquitous as omnipresent are the references to Russian literature and a hint of Degas’ romance with ballet. Not to mention the atmospheres that are clearly reminiscent of the history of pictures in motion: in an interview by Grazia d’Annunzio for Vogue Italia, Deborah Turbeville stated “I love cinema and many are the directors who deeply impacted my work: Eisentein, Fassbinder, Tarkosvsky, Bresson, Visconti. And Bergman, of course. When I watched Persona for the first time, it felt like the world was opening up to me for the first time”.




Turbeville came to work in photography after modeling for Claire McCardell and having worked as a fashion editor for Harper’s Bazaar in the early 60’s collaborating with Richard Avedon, Diane Arbus and Bob Richardson to then arrive at what was her true passion: “Deborah lived for photography” tells me during a phone call Robert Rabensteiner, fashion Contributor at L’Uomo Vogue who has worked extensively with Deborah.



As stated by Grazia d’Annunzio in her interview, Turbeville “lived in a round flat, almost the shape of a hatbox, at the Ansonia Building. In the living room she had tin toys and old French sofas – an insubstantial world in which she moved about taking small light steps. I would often visit her, I would sit at the table she had placed in front of the open kitchen and would listen to her talking about one of her biggest passions, cinema. Last July she gave one of her pictures which I still treasure as one of my dearest belongings: it is a shot portraying Diana Vreeland, you see only the legs and some lovely black slippers. Deborah left us silently, on her tiptoe, light as the ballerinas she loved to photograph, like the haze that enshrouds each one of her shots. That haze that is, now, inside each one of us and that leaves us feeling cold in the heart.” (Vogue.it)

houseofbourbon:

"Spring Awakening," featuring Sasha Valarino, photographed by KT Auleta for Elle (March 2013).

(via thecurio)

Joan Rhodes by Dame Laura Knight

…This September I went to see the exhibition in National Portrait Gallery(London) of the artist I knew very little about. This portrait became my personal favorite along side with another one of the gypsy woman. 

books0977:

Ethel Bartlett (1926). Dame Laura Knight (British, 1877-1970). Oil on canvas. Sefton MBC Leisure Services Department, Arts and Cultural Services, Atkinson Art Gallery.

Although very much in the tradition of Realist painting, Knight ventures further, catching a sudden change of mood or expression in her sitter. Typical is her 1926 profile of the pianist Ethel Barlett, caught in mid-conversation, lips pursed, one hand grasping the other.

buonfresco:

Diego Rivera, Portrait of Lupe Marin, 1938

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