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The unique layout of the Guggenheim makes for a fun and fascinating gallery experience.

‘An Approach to Afal; The Autric-Tamayo Donation’ at The Museo Nacional Centro de Arte Reina Sofia

Some modern art from pompidou

another MASS MoCA exhibit - it cast a great shadow. another part of this string 'n' bead installation was some kind of bluish screen on the windows so it looked like night outside. kinda neat =]

Kunsthaus Zürich project 8 - Model: Silvia

These were chiseled down from huge timbers down to their original branches. Amazing.

Rachel Whiteheads current exhibition in the Turbine Hall is lots and lots and lots of white cardboard boxes.

Frank Okada at the Museum of Northwestern Art in La Conner, Washington

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Man Pointing was made very rapidly for Giacometti’s first exhibition in New York. He recalled: ‘I did that piece in one night between midnight and nine the next morning. That is, I’d already done it, but I demolished it and did it all over again because the men from the foundry were coming to take it away. And when they got here, the plaster was still wet.’ It was originally intended to be part of a larger composition, with the left arm positioned loosely around a second figure. Giacometti later abandoned the idea, and considered Man Pointing to be a complete work.

July 2012

I wonder how much I could get for this? ;-D

pompidou paris, going around in the modern art museum

Artysta malarz - Eugeniusz Gerlach obchodzi w tym okresie 50-lecie pracy twórczej. Z tej okazji ukazał się retrospektywny album poświęcony jego życiu i twórczości, autorstwa artysty fotografika Czesława Czaplińskiego, opatrzony wstępem dr Jerzego Huczkowskiego. Album zawiera ponad 350 reprodukcji obrazów wykonanych w różnych technikach (z przewagą techniki olejnej). Reprodukcje uszeregowano rocznikami -- po minimum pięć obrazów z każdego roku. Album zawiera także wywiad z Eugeniuszem Gerlachem, który przeprowadził Czesław Czapliński. Album dwujęzyczny - w językach polskim oraz angielskim.

www.gerlach-art.com

Melted crayon & Oil stick.

New York is a terrifying and brutal place. The skyscrapers are satanic, the subway is like drain and nothing has any paint on it. Anything that doesn't haven't have an instant utility is bypassed. Anybody who isn't working a 12 hour day is probably sponging off their parents. I have always thought that the people I most respected were people whose work takes place in savage markets: if people don't buy it, you fail. There's a certain truth to that that isn't quite so clear in anything I do. I can always wriggle my way clear of such harsh judgments. But here it just seems like too much. 'The market' conditions severely constrain the spectrum within which the kind of 'honest' transactions I revere can take place. If you want to study, it's $45,000 *a year* for your tuition fees. The only way you can pay that kind of debt off is to seek the most brutal of jobs defending the most brutal companies. I don't understand where people get the money to spend $2,700 a month on a studio flat? I don't understand how more people aren't killing themselves. I don't understand how anybody can really reach their potential on these terms. Or at least I don't see how they can reach their potential in a way which is good for them, or apart from anything else, good for the rest of us. I was reading Negri this week. He says that capitalism is 'technology + markets' and that socialism (after organised labour etc) is 'technology + democracy' - this is definitely 'technology + markets'. Vote for the Green Party in May: if a vote for the Tories is a vote for this - don't do it.

SAMSUNG CAMERA PICTURES

This is an exhibition on Arabic culture inside in the Museum island, the museaum with the Babylonia stuff.

Museum of Modern Art (MOMA)

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