#art press

[bizarreauhavre]

Frantz Zisseler, 2022.

[krisis-krinein]

https://www.artpress.com/2002/09/01/gestestechniques-mike-kelley-se-penser-en-tant-quobjet/

[lemongogo]

dont forget what happened to icarus

[safaakhatib]

Journalist Ismail Al-Ghoul was targeted while doing his job. He was wearing a shield with the word “Press” written on it and a helmet. There is no international body that protects this profession. The profession of journalists has become a profession of death. For your information, my husband Mohammed is also a journalist and I am afraid for him. Please help us reach the target and save my family.

@malcriada @thedigitalbard @riding-with-the-wild-hunt @sibmakesart @sar-soor @sayruq

[cryptocism]

"just as I did, in 1983."

you'd never know my favourite parts of the show are the fucked up insane bits when my first instinct is to draw the cheesiest thing imaginable

[that-butch-archivist]

source: That's Ms. Bulldyke to You, Charlie! by Jane Caminos

[mywifeleftme]

350: Linda Smith // Nothing Else Matters

Nothing Else Matters Linda Smith 1995, Feel Good All Over (Bandcamp)

Leaving aside commodity fetishism, shopping as a hamster-pellet dopamine hit, and surly IYKYK credentials, a big part of the appeal of physical media collecting is the way it narrows the wired world’s horribly broad array down to a single, manageable point of focus. If only for the time it takes the needle to spiral down to the centre of the disc; the tape to unspool; the laser to complete its slow read, you’ve made the gamble to choose this over the legion of that—a fidelity solidified by the cash and labour you poured into making it yours. With bedroom/self-released/obscure stuff in particular I wonder if there’s also a sense of trying to recapture that intimate feeling a lot of us have when we first encounter music that really moves us: the sense that the artist is talking to you directly. Some people are happy to know that the connection they are feeling with a Radiohead or a Taylor Swift is shared by millions of people. (Some sick fucks might find that validating, even.) But a lot of us yearn for private songs, songs like undiscovered glades or ghost metro stations.

Bedroom pop artist Linda Smith’s catalogue was reasonably well-covered during her most active years by the late ‘80s/early ‘90s fanzine press, and it’s enjoyed a small but ardent resurgence since being rediscovered by the right people in the ‘10s. (See the Sky Girl compilation, specifically.) For most of her career though, Smith’s total audience was a rounding error from nil. And the songs sound like no one’s listening too. That’s why crawling into the depths of a mid-career highlight like Nothing Else Matters feels like trying to drowse under a thin, crocheted woolen blanket on a cold autumn morning, warmth and chill fighting over the map of your skin.

The bonus cover of Young Marble Giants’ “Salad Days” that closes Captured Tracks' 2024 vinyl reissue of Nothing Else Matters is a good representative of her sound—layers of found audio mush; a somber melody played on a juvenile-sounding electric organ; pretty but introverted vocals; all of it enveloped by the throbbing safety of its bassline. So is “In the Hospital,” with its husky vocal, churchy chord progression and simple, elegant harmonies, a fantasy about how much time you’ll have for self-reflection when you’re finally, mercifully hospitalized. “I See Your Face” opens like Beat Happening trying out the “Be My Baby” beat, but turns into a just-slightly-eerie vamp—the amateur drum machine programming making the whole song judder awkwardly, the cutesy keyboard riff scooped out and hollowed.

Not every song on Nothing Else Matters has anything wildly unusual going on, and none of them feel like they’re going out of their way to be uncommercial or “uncompromising” in the manner of some art that makes a point of eschewing the label system. It simply feels like the work of a musician who felt most secure making music on her own terms, without having to worry too much about collaborators, advances, touring, promotion, attention, or any of that rot. The music existed, whether anyone was listening to it or not. But now, with Captured Tracks’ re-release of Nothing Else Matters (and its excellent follow-up I So Liked Spring), at least a few people are listening again. The attention is deserved, and rewarded.

350/365

[pathosketches]

Frisk the ambassador-

inspo/ref meme

[puppyeared]

renaissance dogys

characters belong to @canisalbus

[entomologize]

Pressed flower collage of a comet moth, by Helen Ahpornsiri

[eklmrlos]

they are finally free

[bizarreauhavre]

Jesus by Frantz Zisseler, 2019.

[dame-nostalgique]

I made some little fairies out of pressed flowers 🌷

[frantzzisselerthings]

Frantz Zisseler, 2020.

[lupinus-sanguis]

the first time she said Chell's name was probably for something stupid like this (the sort-of-sequel to this)(edit: added some closeups cause i like how glados' internals looked :3c)

[keepingitneutral]

"Brutalist Plants"

Reinforced hillside, Aogashima, Tokyo, Japan. Photo © Yasushi Okano,

Bucharest, Romania. Photo © Bogdan Anghel,

Casa Alférez, Cañada De Alferes, Mexico. Architect Ludwig Godefroy. Photo © Rory Gardiner,

Monumento a Azeredo Perdigão by Pedro Cabrita Reis,

Casa de Vidro, São Paulo, Brazil. Architect Lina Bo Bardi. Photo © Celeste Asfour,

Artwork and photo by Karsten Födinger in La Vallée, Basse-Normandie, France,

Jurong Bird Park, Jurong, Singapore. Architect John Yealland and J. Toovey. Photo © James Wong

Courtesy: Olivia Broome (Hoxton Mini Press)