View allAll Photos Tagged existential
This project takes a view on how seeking acknowledgment in a rapid stream of external demands and expectations influences this particular human being. It can increase a sense of existential loneliness - and the feeling of being numb.
See the full project: www.bendikjohan.com/the-depleted-self
Credits goes to...
Clouds borrowed from:
and the green tint and texture on the floor from:
A big thank you both for sharing.
Some say birds donāt contemplate the nature of existence. This White Wagtail would disagree. Caught mid-stare at a particularly lichen-heavy rock, it appears to be either pondering the meaning of life or just deciding whether the moss looks edible. Tail flick: paused. Inner monologue: active. This is what happens when a hyperactive insect-chaser hits a philosophical wallā¦ literally.
The more I learn about myself, the more I fear myself. Iām told I should remain neutral. A Switzerland of the mind.
āCertified,Qualified,Underemployedā
She graduated with honors,
a minor in existential dread and a major in āplease hire me.ā
She used to think ācloud computingā meant working from anywhere.
Turns out it means your job disappears into thin air.
The job market applauded politely and handed her a part-time badge at a mall kiosk
Now she sells scented candles labeled āEntrepreneurial Spiritā that smell faintly of burnt dreams.
The IT bubble had promised her a kingdomāremote work, stock options, kombucha on tap.
Instead, she learned to say,
āWould you like that gift-wrapped?ā in three tones:
hopeful, robotic, and spiritually absent.
āLOSTā on her left hand.
āSOULā on her right.
Her hands spell āLOST SOUL,ā but management insists she rotate them to spell āSOUL LOSTā for better visual merchandising.
The bubble floats on.
She clocks in.
Turns out, itās the fastest-growing demographic.
Ā© Rajesh Pamnani 2026
my final 3D project for advanced 3D techniques.
done in cinema4d r11 and after effects cs3
assignment was to do "anything." awesome.
music by stars of the lid
"What good is a towboat without something for to to push up / down the river?" This was the existential question I asked myself today, and the answer I came up with shortly thereafter was "not very good".
So, I set about building something quite commonplace if you live near any of the major rivers of the mid-western USA: a pair of un-powered barges! (I think they usually use them for grain and silica, among other bulk goods, but here they are empty, mostly because like the towboat model I made, they have open bottoms.) These type I see a lot here in Saint Louis, and are of the modern variety... although I'm unsure how long they've been using this design, to be honest.
It seems to be two barges next to each other, but in actuality, they are one big barge. I did this because less parts are used this way. I will eventually have two of these ancillary models hooked onto my tugboat / each other with 5-long LEGO chains. (these are not in the picture)
The more I learn about myself, the more I fear myself. Iām told I should remain neutral. A Switzerland of the mind.
The Black Rail at the Cape May Migratory Bird Refuge (aka the South Cape May Meadows) forges on, undaunted by the impending lack of cover. A typical rail attitude, sometimes they act like no one can see them even up close and in the open. This rail showed very little concern over the group of photographers and birders not ten feet away.
One's condition on marijuana is always existential. One can feel the importance of each moment and how it is changing one. One feels one's being, one becomes aware of the enormous apparatus of nothingnessāthe hum of a hi-fi set, the emptiness of a pointless interruption, one becomes aware of the war between each of us, how the nothingness in each of us seeks to attack the being of others, how our being in turn is attacked by the nothingness in others.
- Norman Mailer in Writers at Work
Today the We're Here group members are pondering about the meaning of life for the Existential - Picturing the questions {and vice versa} group.
The painter of the scream. Francis Bacon's raw, unsettling works explored the existential agony and biological reality of the human condition. View on SteveHammond.Art
Working with the imagination of matter.
On Poetic Imagination and Reverie.
Gaston Bachelard.
The Daughter of Butades.
An explicitly corporeal gesture/process.
Droids find themselves in existential crisis more often than you might think. Self-doubt is universal.
Photo shot for the Flickr group 7 Days of Shooting.
I'm not sure if i've ever suffered an existential crisis on the level that this man is currently having to deal with. Sure, I've had some strange notions from time to time but this guy's desperation at his inability to tell his lovely lady that they aren't really lovers and are, in fact, just stencils is somewhat heartbreaking. The swirling maelstrom of his thoughts is reflected in the somewhat random background. Just how is he going to break it to her? Life can be tough, can't it?
These are on A3 paper and will look lovely once framed. Drop us a line if you're interested...
Cheers
id-iom
This is a another tile from a memorial that was created to honor two you teens who had been murdered while enjoying a Picnic in Precita park, San Francisco.
Existential planes are not given conditions but levels of intensity of metaphysical seeing (sanskrit vidya).
The wisdom of non-differentiation is superior to the wisdom of differentiation, but it could not be achieved without the wisdom of differentiation. Therefore the wisdom of differentiation should precede the wisdom of non-differentiation.
5. How can it be imagined about the one who is unable to surmount his own education and the effects of his family, schooling and mass communication that he can surmount that which will arise as ontic bondage on his spiritual way?
6. To eliminate his defective judgements of value man should attend to a process of radical autocorrection in the course of which every earlier view should be rejected, and then that which stands the test of the new view should be reaccepted.
9. Not only a view but a way of looking; not only a view of the world but a way of looking at the world; not only a Weltanschauung (world view) but world contemplation; not only structure and frame but a living processā¦
32. Spiritual and theistic Weltanschauungs should be markedly different from materialistic and atheistic ones in each aspect of life: in eating, sleeping, walking but first of all in their views.
39. There is but one true normality: the normality of the centre.
40. If the knowledge related to the centre is lacking, then in fact the knowledge related to the periphery is lacking as well.
52. Beyond a certain level there can not be external or internal any more. There is no external or internal - for in relation to the limit of consciousness everything is inside and in relation to the centre of consciousness everything is outside.
53. Existential planes are not given conditions but levels of intensity of metaphysical seeing (sanskrit vidya).
56. The wisdom of non-differentiation is superior to the wisdom of differentiation, but it could not be achieved without the wisdom of differentiation. Therefore the wisdom of differentiation should precede the wisdom of non-differentiation.
57. Things can only be united if they have previously been separated.
62. Earth can essentially be in touch with Heaven (the Motionless Mover) only where it is not in motion - i. e. at the poles.
64. In the cosmos the spirit manifests itself as light. When Christ says that Ā»I am the light of the cosmosĀ«, it means that He is the light of the cosmos which is beyond the cosmos - that is to say, He is the spirit of the cosmos but this spirit is beyond the cosmos.
65. The material world is essentially a spiritual world. What does Ā»spiritualĀ« mean? Does that mean that it is more subtle than material? It also means that but the main point is something else. The world is spiritual if the fact that it is in the consciousness becomes evident.
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Metaphysical aphorisms by AndrĆ”s LĆ”szlĆ³
www.tradicio.org/english/solumipsum.htm
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Painting by Giovanni di Paolo
O.K. So I spent some more time on this one for Macro Mondays. I was feeling like such a slacker...I am sure the question is very clear to all even without the ?.
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Dieter Buchhart has been called the worldās leading Jean-Michel Basquiat expert. Heās curated or co-curated nearly all of the late New York artistās major institutional shows this decade, including retrospectives at the Fondation Beyeler in 2010, the Art Gallery of Ontario in 2015, and the Barbican in London in 2017.
So I was bit taken aback when, in a recent phone conversation, the planetās top Basquiat authority informed me that the rapturously received 120-work Basquiat retrospective he curated at the Fondation Louis Vuitton (up at the Paris museum until January 21st) is not only more extensively sourced and thorough than any show of the artist staged before, but also probably the last time a show of its scale will ever be staged.
āThis is the most comprehensive Basquiat show, and perhaps one day, one of the other great museums will try it again, but it will be very, very, very hard. It will kind of be a āMission: Impossible,āā Buchhart said during a phone call from Paris. āIt was already now a sort of āMission: Impossible,ā and of course, in a couple of years, it will be even more of a āMission: Impossible.āā
I initially took this as hyperboleāstar curators are nothing if not enthusiastic in their proclamations. But having seen the show, which is spread generously through the 126,000-square-foot Frank Gehryādesigned space that opened in a woodsy part of the 16th Arrondissement in 2014, it occured to me that perhaps itās true that such a gobsmacking array of Basquiatās best paintings could never be assembled again. Buchhart insisted this was the case, and ticked off the reasons why. Basquiatās market has shot up in the last few years, he said, and a show of 120 works needs a massively well-endowed museum to cover the insurance costs of shipping and hosting dozens of paintings that could be worth more than $10 million, and at least one that is worth much more than that: the untitled 1982 skull painting Yusaku Maezawa bought at Sothebyās New York in May 2017 for $110.5 million. The lack of institutional interest in Basquiat during his lifetime and in the decades when the lateās artistās work was relatively affordable means that the bulk of his work is still in the hands of private collectors, many of whom are reticent to let the public see their holdings, or even send them away on loans.
Unlike the institutions that passed on Basquiat for years, the Fondation Louis Vuitton has amassed an impressive trove of the artistās work, including Grillo (1984), a showstopper that depicts two figures across four linked canvases stretching more than 17 feet, and Negro Period (1986), a tryptic that features tangled drawings of black cultural figures on two of its three panels, and then a striking portrait on its rightmost panel.
The exhibitionās curators also had access to even more rare works through the largess of the Fondationās president, LVMH CEO Bernard Arnault, who has collected Basquiat for decades and showed immense enthusiasm for his works years before they became must-haves for any world-class contemporary collection.
āBasquiat! I have a deep and personal passion for the work of Jean-Michel Basquiat, whose works I first discovered in New York in the late 1980s,ā Arnault wrote in the exhibition catalogue. Arnault began planning the worldās grandest Basquiat exhibition nearly a decade ago, when Gehryās spasmodic sketches of undulating waves had yet to be turned into a real building. The first order of business was asking Buchhart to put the show together, alongside the museumās artistic director, Suzanne PagĆ©. Even at that early stage, he knew his exceptional Basquiat holdings gave him a leg-up in staging a once-in-a-lifetime show.
Some of Arnaultās Basquiats remain in his name, as opposed to the Fondationās collection, and the luxury goods billionaire loaned work from his personal troveāwhich adorns walls of such properties as his Saint-Tropez home, his apartment in Paris, his penthouse at 50 Central Park West, his multiple houses in Beverly Hills, and perhaps even his yachtāeven if he insisted on incognito wall text attributing them to āa private collection.ā
When Arnault tapped Buchhart to organize the exhibition, the curator immediately set out to do something more ambitious than past shows, which typically tracked the artistās meteoric rise and tragic death over a too-short career. Instead of being organized chronologically, the showās 120 works are presented in thematic clusters: large head paintings; smaller head drawings; depictions of Basquiatās āheroes and warriors,ā which include bebop titans and boxing champions; paintings that rely heavily on text; history paintings; paintings that take stock of the African diaspora and slave trade routes; collaborations with Andy Warhol; and his final worksāincluding the late masterpiece Riding with Death (1988), which rarely leaves its very private collection, and is on display in Paris for the first time. The unorthodox sequencing pays off in a big way. Right out the gate, there are three massive skull works hung in a small cupola that will wow Basquiat fans and win over any skeptic: Maezawaās record-breaking, black-on-cerulean face with teeth gnashing; the somber yellow-lined skull from 1981 thatās been a highlight of The Broad in Los Angeles since it opened in 2015; and In This Case (1983), a red-washed noggin with a rain cloud for an eyeball thatās owned by Giancarlo Giammetti, the business partner of fashion designer Valentino Garavani.
āIt was very important for me to break with the usual retrospective, where you start with the early works, and then you go on, so I started with one of the strongest expressions of humanism, the strongest expression of existential fearāthe three heads,ā Buchhart said. āIt was to mark the genius of Basquiat, and also give [visitors], at the entrance, an idea of the masterpieces he created.ā
As you continue through the show, the sequencing of works strengthens the main argument Buchhart set out to make: that Basquiat was not really a Neo-Expressionist revitalizing a bombastic aesthetic, but a conceptual artist threading the context of where he came from into the narrative of his lifeās work.
While discussing this conceptual framing, I floated a theory by Buchhart: that Basquiat was a canny observer of the way the market responded to his work, and would have marveled at the Fondationās staffers crisscrossing the globe to track down his works in the vacation homes of collectors. Basquiat would have seen the international dissemination of his now-pricey paintings as a parallel to the global tradewinds he mapped in his worksāparticularly the paintings dealing with the slave trade, a market he compared to the art market on many occasions, portraying men in hats selling both people and pictures.
Buchhart agreed with the idea, noting that in addition to the collectors who did advertise their loans in the wall textāincluding prominent players such as Eli and Edythe Broad in Los Angeles, Peter M. Brant from Greenwich, Connecticut, and others as far-flung as Heidi Horten in Vienna, Yoav Harlap in Israel, and the Mugrabi familyāthere were dozens of others who stayed anonymous. āHeās really globalāHong Kong, Australia, of course you have South America, Japan, other parts of Asia, Indonesia, many private collections in Europe, even smaller holdings in Africa,ā Buchhart said.
While many collectors are willing to loan work for large portions of the yearāMaezawaās masterpiece was at the Brooklyn Museum and the Seattle Art Museum before it went to Paris, meaning itās been traveling for most of the roughly 20 months heās owned itāsome have started to worry about shipping increasingly valuable canvases.
āIt was difficult,ā Buchhart said. āPeople are much less generous in lending, because now the value is so high. People started having more concerns than they did in the past.ā
Still, after more than a decade of putting together ambitious Basquiat shows, Buchhart has become good at knowing who to turn to when thereās a specific piece that scratches a curatorial itch or fills a narrative gap. He said he was able to offer primo real estate to collectors who were reluctant to share their works, enticing them with the promise that certain overlooked parts of the artistās practice would get their star turn in this exhibitionās rejiggered format.
But some resistant collectors took more persuading. To entice would-be lenders into handing over their prized possessions for a few months, Arnault himself sent handwritten letters offering them the pick of the litter from his own personal collection to fill the white space on their walls for the duration of the show.
The surging Basquiat market has also created the problem of putting up the daunting insurance money needed to house so many blue-chip works. Buchhart claimed he didnāt know the total estimate for what the works in the show would hypothetically cost, and thus didnāt know the indemnity that had been assigned to the exhibition so that it could be staged. Dealers familiar with the Basquiat market said they had not looked at all 120 works closely enough to go on the record with a ballpark estimate.
But thereās no doubt that 120 of the greatest Basquiats in existence amount to a whole lot of money. Since 2007, nearly 40 of his paintings, drawings, and canvases on mounted wood have sold for more than $10 million. And accordingly, the two large-scale head paintings in the show not owned by Maezawa would have to be considered $100 million pictures; the 25 or so large-scale paintings are at least equal to those that have recently sold in the range of $30 million. No large-scale, four- or five-paneled works like the ones in the Fondationās collection have come to auction, but they could conceivably break $50 million given their sheer size. In addition to these knockouts, there are dozens of smaller paintings and drawings that would collectively bring in a hefty sum. All told, it seems reasonable to estimate that the total value of the works in the exhibition could approach $2 billion. Insurance for this kind of exhibition would be prohibitive for most private museums. In 2011, when the National Gallery in London staged a show of nine works by Leonardo da Vinci, the indemnity was a whopping Ā£3.3 billion, and it was halfway covered by taxpayers.
But in this case, the museum in question is sponsored by LVMH, which has assets of ā¬68.6 billion ($82.2 billion). Buchhart says having such a backer is a huge help, but itās also another reason why it will be difficult to stage such a show again, especially as Basquiatās prices continue to rise.
āThe insurance value of a show like this is very high, so it limits the opportunities,ā Buchhart said. āOn the good side, there is the recognition that comes with the high prices, but there is also the downsideāthe exhibitions become very expensive to do, which limits the options to do these shows.ā
In March, a selection of the worksāabout 70 of the 120āwill travel to New York to inaugurate the Brant Foundationās first Manhattan gallery space, in Walter De Mariaās old studio in the East Village. Appropriately enough, the location is in Basquiatās old stomping grounds, right around the corner from the Pyramid Club and other old and bygone 1980s venues where the artist jammed with his band Gray and left endless tags on the walls and bathrooms.
Until then, thereās no doubt that the full show in Paris will be as mobbed as it was on the brisk Saturday in October when I visited. There were lines around the sprawling concourse in the Bois de Boulogne then, and the visitors standing in them looked giddy, despite the hours of waiting that lay ahead.
Some of the younger people in the queue wore Basquiat shirts and were clearly very eager to witness for the first time a complete show of his work. I mentioned this to Buchhart and he said that he had noticed the kids, too. He talked about those who had heard of Basquiat, double-tapped pictures of Basquiat on Instagram, read about Basquiat, but never actually seen a Basquiat.
āIt marks a global change in the reception of Basquiat, and educates many more people about what he actually did,ā he said.
www.google.fr/url?q=http://www.youtube.com/watch%3Fv%3DOm...
What a difference a day made
Twenty four little hours
Brought the sun and the flowers
where there use to be rain
My yesterday was blue dear
Today I'm a part of you dear
My lonely nights are through dear
Since you said you were mine
Oh, what a difference a day makes
There's a rainbow before me
Skies above can't be stormy
Since that moment of bliss
That thrilling kiss
It's heaven when you
Find romance on your menu
What a difference a day made
And the difference is you.
What a Difference a Day Made; is a popular song originally written in Spanish by MarĆa MĆ©ndez Grever (a.k.a. MarĆa Grever), a Mexican composer, in 1934. Originally, the song was known as ;Cuando Vuelva A Tu Lado.
The English lyrics were written by Stanley Adams, made famous by Harry Roy & his Orchestra. It was published in late 1934. The song is in the Bolero romantic style and it is also known as ;What a Difference a Day Makes;.
This song is one of the most popular boleros of all time, and the signature recording of the song belongs to that of Dinah Washington, who won a Grammy Award in 1959 for Best Rhythm and Blues Performance with this song, and her version was also inducted into the Grammy Hall of Fame in 1998.[1] It also earned her her first top ten Pop hit, reaching #8 on the Billboard Hot 100. Esther Phillips discotized 1975 remake was a top 20 hit.
It was recorded by Diana Ross in 1972, but not released until thirty-four years later when her Blue album was discovered in the Motown vaults and released in 2006. Other artist versions include Sarah Vaughan, Renee Olstead, Eydie Gorme in 1964 album titled Eydie Gorme canta en espaƱol con Los Panchos, Luis Miguel in his Romance album 1991, etc. Jamie Cullum's 2003 debut album, twentysomething, also features a remake of this song. In 2007 R&B/Dance singer Deborah Cox made a remake of this song on her album Destination Moon. Also in 2007, Peter Criss covered the song on his album One For All.
Did you know 4 pound dogs were capable of experiencing crises? Well. This one is. Poor little Orville Peck - itās a giant world when youāre a little bubba.
La porte
La porte donnait sur le ciel au prolongement dāun grand escalier,
Elle donnait droit sur le ciel comme une espƩrance certaine.
Je ne pouvais de lĆ oĆ¹ jāĆ©tais voir le nombre de ceux qui lāavaient franchie
Mais je pouvais voir Ć lāusure des marches que nous Ć©tions nombreux.
En effet, nous Ć©tions tous en train de la franchir cette mĆŖme porte.
Celle qui mĆØne vers demain inĆ©luctablement.
Je me posais quelques questions essentielles
Et aprĆØs ? comment ? pourquoi ? qui retrouverai-je ?
Une forme de sƩrƩnitƩ devant ce bleu si parfait
Me donnait confiance que ce demain serait joyeux
DiffƩrent mais apaisƩ assurƩment.
Pour autant, je nāĆ©tais pas pressĆ©e de monter les marches
Mais je ne pouvais pas Ć lāapproche de cette porte
Me poser aucune question !!
Je me souvenais de mon pĆØre qui disait que lāaujourdāhui servait Ć choisir son Ć©ternitĆ©
En repensant au jardin dāEden, oĆ¹ Dieu venait rendre visite en toute Ā« amitiĆ© Ā» Ć ce couple Ć la tombĆ©e de la nuit
Je me disais que ce merveilleux jardin Ć©tait une promesse,
Que la visite du soir avec ce Dieu qui vient prendre des nouvelles serait vraiment une forme de Paradis.
Je repensais Ć la terre, Ć ce que nous en avions fait,
Les incendies violents qui ravagent nos Ć©tĆ©s sur la planĆØte (la GrĆØceā¦)
Les rĆ©pressions violentes face Ć des moines et Ć un peuple tranquille (Rangoonā¦)
Nos pollutions, nos aberrations, nos adultĆØres moraux et physiques, nos comportements absurdesā¦
OĆ¹ est la paix ? oĆ¹ est la sĆ©rĆ©nitĆ© ?
La porte donnait sur le ciel en prolongement du grand escalier et sāouvrait sur lāespĆ©ranceā¦ā¦
Turquoise Bleue
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