“That’s not my blood. I was making out with my main squeeze on a stoop in the East Village and some macho jock dickhead walked by and called us fags. I don’t think he expected me to get up in his face. We scrapped a bit and then I head-butted him and could feel his nose break on my forehead. We ran for blocks, laughing at the top of our lungs, then jumped into bed where my boyfriend took this picture of me”
- Ryan McGinley
(via semioriginalthoughts)
Espacios Abatidos (Depressed Spaces) by Julio César Barrita Sierra
Portraits of families split by migration.
(Source: fotosoaxaca, via punkpedagogy)
Ends of the Earth: Land Art to 1974 is the first large-scale, historical-thematic exhibition to deal broadly with Land art, capturing the simultaneous impulse emergent in the 1960s to use the earth as an artistic medium and to locate works in remote sites far from familiar art contexts. Organized by MOCA Senior Curator Philipp Kaiser and co-curator Miwon Kwon, Professor of Art History at UCLA, the exhibition highlights the early years of untested artistic experimentations and concludes in the mid-1970s before Land art becomes a fully institutionalized category. Rather than romanticizing notions of “return to nature” or an “escape from culture”, the exhibition provides a comprehensive overview that reveals the complexity of the movement’s social and political engagement with the historical conditions of its time. Ends of the Earth exposes Land art as a media practice as much as a sculptural one, focusing on the extent to which language, photography, film, and television served as an integral and not a secondary or supplementary part of its formation. Over eighty artists and projects from United Kingdom, Japan, Israel, Iceland, Eastern and Northern Europe, as well as North and South Americas are included in the show. Ends of the Earth: Land Art to 1974 is organized by The Museum of Contemporary Art, Los Angeles, in collaboration with Haus der Kunst, Munich.
Images: Superstudio, Cube of Forest on the Golden Gate, 1970-71 (Above), Zorka Saglova, Laying Napkins Near Sudomer, 1970 (Below)
On MoCA’s website there’s a google view of each site: http://www.moca.org/landart/
Kara Walker born 1969
Exodus from the portfolio Harper’s Pictorial History of the Civil War (Annotated), 2005
Lithograph and screenprint on paper
(Source: breathlesslavender, via howtobeterrell)
I reblogged this before, just last month? I don’t care! Happy to see it again
My attitudes towards left-wing guys.
(Source: cinemasavage)
Synagogue, Negev Desert, Israel, 1967-69
(Alfred Neumann & Zvi Hecker)
In Ezra Stoller’s photographs, buildings are pristine machines from a utopian future, just as their architects envisioned them.
(via different-city)
