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Cemetery, Fountain City, Wisconsin. 2004, Alec Soth

Cemetery, Fountain City, Wisconsin. 2004, Alec Soth

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Joel Sternfeld

“After A Flash Flood, Rancho Mirage, California 1979” (1979)

Joel Sternfeld

“After A Flash Flood, Rancho Mirage, California 1979” (1979)

(source)

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Los Angeles, CA, June 21, 1975 Photographer Stephen Shore

Los Angeles, CA, June 21, 1975 Photographer Stephen Shore

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Wright Morris, Reflection in Oval Mirror, Home Place, 1947

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Alfredo Jaar

Studies on Happiness 1979-1981

“3 year project in Santiago, Chile that explored the limits of what could be said and done during the dictatorship: Signs around the city invited people to express their opinions about happiness, and these opinions were later gathered in an installation at the Museo Nacional de Bellas Artes, Santiago.”

(Chilean dictatorship 1973-1990)

Alfredo Jaar

Studies on Happiness 1979-1981

“3 year project in Santiago, Chile that explored the limits of what could be said and done during the dictatorship: Signs around the city invited people to express their opinions about happiness, and these opinions were later gathered in an installation at the Museo Nacional de Bellas Artes, Santiago.”

(Chilean dictatorship 1973-1990)

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Alfredo Jaar - The Sound of Silence (2006) 

Alfredo Jaar - The Sound of Silence - 2006

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Huck Magazine - Interview with Alec Soth

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Couple Embracing, Egon Schiele, 1911, Metropolitan Museum of Art

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Robert Rauschenberg: Blue Eagle (1961) Oil, enamel, cotton T-shirt, metal cans, eye screw, and wires, torn paper, canvas, and graphite on linen with electric cord, can, and light bulb. Overall: 84 × 60 × 5 in. (213.4 × 152.4 × 12.7 cm) (Whitney Museum of American Art, New York)  “In the mid-1950s, Robert Rauschenberg began using materials scavenged from his environment to create hybrids of painting and sculpture which he termed “combine paintings.” As he explained, “After you recognize the canvas you’re painting on is simply another rag then it doesn’t matter whether you used stuffed chickens or electric light bulbs or pure form.” No object was too lowly for his art. The cast-off and discarded were redeemed through his vigorous combinations and overlays, which celebrated memory as well as the raw energy of everyday life. These works were a far cry from the existential drama and painterly distillations of Abstract Expressionism. In Blue Eagle, Rauschenberg affixed a T-shirt and a flattened can of Blue Eagle motor oil to the canvas along with an electric cord that attaches to a tin can on the floor. The blue bulb inside the can lights up when the cord is plugged in. As a result, the combine is literally, functionally connected to the gallery: part of everyday life, not an illusionistic escape from it.” 

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Gerhard Richter: Untitled (1 April '05). 2005. 14.8 cm x 10.1 cm. Oil on photograph.

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Poetry and politics are part of the documentary.

Sylvain Couzinet-Jacques in conversation with Lesley A. Martin (via aperture-foundation)

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Amrita Marino: Editorial

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POSTER FOR GOLEM THEATRE Photo by ARON FILKEY 

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Pierre Soulages | Peinture 300x235 cm | 9 juillet 2000 | Huile sur toile 

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Sophie Calle 1981, The Hotel

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Felix Gonzales-Torres  Cuba 2009                                            

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Felix Gonzales-Torres, Untitled, 1991

Felix Gonzales-Torres, Untitled, 1991