Monday, February 23, 2009
Friday, February 20, 2009
Flight of the Conchords - by Alberto Forero (my entry for their really arty poster contest)
Flight of the Conchords - by Alberto Forero (my entry for their really arty poster contest), originally uploaded by pantufla.
Flight of the Conchords - by Alberto Forero (my entry for their really arty poster contest)
see it here:
conchordswiki.hbo.com/album/75357/Conchords+Really+Arty+P...
see all the entries:
conchordswiki.hbo.com/album/75357/Conchords+Really+Arty+P...
Uploaded by pantufla on 20 Feb 09, 2.49PM PST.
Wednesday, February 18, 2009
Monday, February 09, 2009
Saturday, February 07, 2009
Monday, February 02, 2009
Sunday, February 01, 2009
Friday, January 30, 2009
Wednesday, January 28, 2009
Sunday, January 25, 2009
Thursday, January 22, 2009
Wednesday, January 21, 2009
Monday, January 19, 2009
Saturday, January 10, 2009
AMERICAN CYANAMID
Accession Number: 1977:0100:0039
Maker: Nickolas Muray (American 1892-1965)
Title: AMERICAN CYANAMID
Date: 1945
Medium: "color print, assembly (Carbro) process"
Dimensions: Dimensions Unknown
George Eastman House Collection
General – information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: http://www.eastmanhouse.org/flickr/index.php.
Uploaded by George Eastman House on 20 Dec 08, 1.41PM PST.
Thursday, January 08, 2009
Marina Abramovic and Ulay : Imponderabilia (1977)
At the opening of an exhibition in June 1977 at the Museum of the Galleria d’Arte Moderna Bologna, Abramovic/Ulay stood naked at the entrance opposite each other in such a way that the people streaming in had to squeeze singly through the gap between the two, unable to avoid physical contact. The crucial factor was that everybody had to decide whom to look at as they passed. The video focuses on both the complete view and the half-length portrait in order to capture the different reactions of the audience. Most people were looking straight ahead to avoid a direct gaze, squeezed through with a lot of physical contact or tried bumping into the bare skin of the two as little as possible. Some also held on to the artists’ shoulders. Abramovic/Ulay kept looking at each other motionless like statues flanking an entrance. In this Performance, they are forming a physical frame, confronting the involuntary participants passing through the "birth canal" with the experience of touch, the decision which side to face, and exposing them all to an unfamiliar bodily sensation between shame and an awareness of their own bodies, and to close physical contact with another human being which is generally considered disturbing between strangers. The gap between the two protagonists constitutes the actual Performance space in which the viewer plays an active part. It is fitting that this action is placed in a museum where people go as spectators, learning at the very entrance that they are involved themselves. A text on the exhibition wall stated: "Imponderable. Such imponderable human factors as one’s aesthetic sensitivity/the overriding importance of imponderables in determining human conduct." The text refers directly to the viewer as a protagonist of the Performance who – as is so often the case with Abramovic/Ulay – is denied the opportunity of direct observation. - Lilian Haberer.
Text source :
www.newmedia-art.org/cgi-bin/show-oeu.asp?ID=ML002604&...
Lors de l'ouverture de l'exposition de juin 1997 à la Galleria d'Arte Moderna de Bologne, Abramovic/Ulay se tiennent nus face à face à l'entrée, de sorte que les visiteurs, qui doivent se faufiler entre eux deux pour entrer, ne peuvent éviter de les toucher. Le fait que chaque personne doive décider qui elle va regarder en passant est important. La vidéo fixait plusieurs plans, l'ensemble et une vue de demi-profil, de manière à pouvoir observer les diverses réactions du public. La plupart détournaient la tête, afin d'éviter le regard direct, les uns se pressaient en recherchant les contacts corporels, les autres essayaient de se heurter le moins possible à la peau nue des deux artistes. D'autres encore s'appuyaient aux épaules des artistes. Abramovic/Ulay se regardaient sans sourciller, telles des statues postées à l'entrée. Ils forment ainsi un cadre corporel et confrontent les participants involontaires, pendant que ceux-ci passent par le "canal de naissance", face à l'expérience du toucher, de la décision à prendre vers quel côté se tourner, et ressentent un sentiment corporel inhabituel, entre gêne et prise de conscience de son propre corps et du contact humain avec des inconnus souvent perçu comme quelque chose de dérangeant. L'espace vide entre les deux acteurs représente le lieu de performance proprement dit, dans lequel l'observateur devient lui-même acteur. La représentation de cette action convient parfaitement dans un musée où les gens se rendent pour devenir observateurs et s'aperçoivent dès l'entrée qu'ils sont associés à l'action. Au mur de l'exposition on pouvait lire ce texte: "Imponderable. Such imponderable human factors as one's aesthetic sensivity / the over-riding importance of imponderables in determining human conduct." Il s'adresse directement à l'observateur en sa qualité de protagoniste de la performance et pour qui la possibilité d'observation directe est souvent déguisée - comme si souvent chez Abramovic/Ulay. - Lilian Haberer.
Text source :
www.newmedia-art.org/cgi-bin/show-oeu.asp?ID=ML002604&...
More info :
www.medienkunstnetz.de/works/imponderabilia/
Uploaded by Marc Wathieu on 7 Jan 09, 8.47PM PST
Tuesday, January 06, 2009
Untitled
Accession Number: 1974:0056:0761
Maker: William M. Vander Weyde (American 1871–1929)
Title: Untitled
Date: ca. 1900
Medium: negative, gelatin on glass
Dimensions: 8.5 x 6.5
George Eastman House Collection
General – information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: http://www.eastmanhouse.org/flickr/index.php.
Uploaded by George Eastman House on 19 Sep 08, 1.13PM PST.
Monday, January 05, 2009
Sunday, January 04, 2009
Friday, January 02, 2009
Thursday, January 01, 2009
Wednesday, December 31, 2008
Miss Grace Sutherland.
Accession Number: 1981:4323:0001
Maker: Unidentified
Title: Miss Grace Sutherland.
Date: ca. 1890
Medium: albumen print
Dimensions: Image: 16.2 x 9.7 cm Mount: 17.3 x 9.9 cm
George Eastman House Collection
General information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: http://www.eastmanhouse.org/flickr/index.php.
Uploaded by George Eastman House on 31 Jul 08, 1.27PM PST.
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Getty Museum #11 (Venus Reclining on a Sea Monster with Cupid and a Putto)
Getty Museum #11 (Venus Reclining on a Sea Monster with Cupid and a Putto), originally uploaded by kevindooley.
Venus Reclining on a Sea Monster with Cupid and a Putto.
www.getty.edu/art/gettyguide/artObjectDetails?artobj=113424
John Deare
English, 1785 - 1787
Marble
1 ft. 1 1/4 in. x 1 ft. 11 in. x 4 7/16 in.
98.SA.4
Venus, the goddess of love and beauty, reclines on a fantastic goat-headed sea monster in this allegory of Lust. The goddess entwines her fingers in the creature's bearda so-called "chin-chucking" gesture that represents erotic intentwhile the monster licks her hand in response. Cupid, astride the monster's long tail, is poised to shoot an arrow at Venus, while in the background a putti adds to the amorous imagery by holding a flaming torch, undoubtedly meant to suggest the burning ardor of desire. The sea goat carries Venus through the frothy waves, carved with energy and precision.
John Deare displayed his great skill in carving a variety of levels and textures in this sculpture, from the low relief of the Cupid and putti to the smooth, half-relief of Venus, and finally to the sea-goat's fully three-dimensional snout and wavy strands of hair. Deare's depiction of Lust as a woman riding a goat forms part of an iconographic tradition that has been popular since the Middle Ages.
Wednesday, December 24, 2008
Monday, December 22, 2008
Mimi & Richard Fariña
A recently discovering for me
マイミクのKazzz3さんが、LeBlanc&Carrをとりあげていたので、僕もそれに触発されてSSWものを少しだけ、とりあげることにしました。
今回とりあげるのは、Mimi&Richard Farinaの65年のファーストアルバム「Celebrations For A Grey Day」。Richard Farinaはダルシマー奏者。MimiはJoan Baezの実妹で、２人は夫婦デュオとして活躍していた。しかし、Richardは66年に、事故で他界してしまう。そんな彼らのこの作品は、当時のアシッドフォークっぽい雰囲気を持った秀作だと思う。
Mimiは、その後、今度はTom JansとMimi Farina&Tom Jansというデュオを結成し、70年にA&Mからアルバムをリリースしている。
y bla, bla, bla...
Uploaded by Aisaider 2008 on 21 Dec 08, 10.13AM PST.
G. Washington's teeth (LOC)
Bain News Service,, publisher.
G. Washington's teeth
[between 1910 and 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Persistent URL: hdl.loc.gov/loc.pnp/ggbain.09491
Call Number: LC-B2- 2241-4
Uploaded by The Library of Congress on 3 Jan 08, 10.20AM PST.
Monday, December 08, 2008
Sunday, December 07, 2008
Saturday, December 06, 2008
Friday, December 05, 2008
Thursday, December 04, 2008
Wednesday, December 03, 2008
Wednesday, November 19, 2008
Friday, November 14, 2008
Thursday, November 13, 2008
Wednesday, November 12, 2008
196119f.jpg
Author:Rassweiler, Henry H.
Title:Portfolio of Life; or a Popular Study of the House in which we Live.
Place:Chicago
Publisher:Western Publishing House
Date:1891
Item # :196119
Description:
148, [6] pp. Full page and multilayer chromolithographs. (Folio) 12½x8, purple leather lettered in silver and rebacked with paper spine.
Beautifully illustrated instructional volume containing multilayer chromolithographs of human anatomical structures including the abdomino-thorax at front pastedown, the arm and leg at rear pastedown, and within the text the eye, the ear, and the head.
Image from the auction of the Medical & Science Library of Gerald I. Sugarman, MD by PBA Galleries: Auctioneers and Appraisers, to be held on 11/20/2008.
Uploaded by astropop on 9 Nov 08, 11.36AM PST.
Tuesday, November 11, 2008
Radio City Music Hall, New York City NY, Thirties
Since: 27-12-1932
Address: 1260 Avenue of the Americas, New York City, New York
CinemaTreasures.org ID: 55
The back reads: "RADIO CITY MUSIC HALL
is the world’s largest theatre. Part of a capacity audience of 6,200 persons is shown watching the spectacular stage show that is a weekly feauture at this giant playhouse."
Printed in 1936, ©Interborough News Co., 525 West 52nd Street., New York, N.Y.
Uploaded by Roloff on 11 Jul 07, 6.31AM PST.
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