'la disparition' by henri cueco, 1994 in animal: exposition du 24 septembre 1999 au 16 janvier 2000 - musée bourdelle (1999)

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'la disparition' by henri cueco, 1994 in animal: exposition du 24 septembre 1999 au 16 janvier 2000 - musée bourdelle (1999)

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Vintage Porcelain Covered With Hand-Painted Ants
“You write the beginning and then you go back and rewrite the beginning, and you never got off page one. It’s kind of a syndrome, and I have a rash piece of advice which is — Go on, page two, page three, and never look back. Get something finished, no matter how lousy it is. […] Perfectionists cannot get going unless they kind of do violence to their own instincts, and just blast ahead.”
— Ursula K. Le Guin, The Last Interview and Other Conversations
“The daily routine of most adults is so heavy and artificial that we are closed off to much of the world. We have to do this in order to get our work done. I think one purpose of art is to get us out of those routines. When we hear music or poetry or stories, the world opens up again. We’re drawn in — or out — and the windows of our perception are cleansed, as William Blake said. The same thing can happen when we’re around young children or adults who have unlearned those habits of shutting the world out.”
— Ursula K. Le Guin
historical research can feel like ripping a carcass apart with your teeth. if you're doing it right

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[030525] with eyes closed
morning glory drawn by Takanawa Sodo, early 20th century, Japan.
AU REVOIR JÉRÔME !
Philipp Otto Runge ,paper collage, 19th century
Terracotta oinochoe (jug). 300 BCE
https://www.metmuseum.org/art/collection/search/245622

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Eleonor Antin
100 Boots, 1971-1973
The project 100 Boots is without a doubt one of the most renowned works to date by Antin. It consists of 51 photographs, documentation (as if the documentation were derived from performances) of a march of 100 rubber boots throughout the USA across the span of 1971 to 1973. The boots are shown inside of scenes of everyday life, trotting along a beach site in California, a path to a church, lined up outside of a bank, at a construction site, or in the middle of the city. They are aligned in a horizontal line, in a circle, or back to back in front of the camera. Their display permits a kind of personification, which makes the images humorous. On other occasions, they are depicted as abstract forms, moving and adaptable. Like enigmatic clones, the boots resemble non-identified invaders exploring the USA’s territory. Made at the time of USA’s involvement in the controversial Vietnam war, this simple conceptual narrative has a political turn. At the time, the pictures were sent as postcards by the artist, and the work was launched around the onset of “Mail Art ”. In 1973, MOMA purchased the complete series of the 51 postcards. After this acquisition, Eleanor Antin “consigned” the boots and created a photographic edition of 10 copies.
Over a roughly thirty-year period, conceptual and multidisciplinary artist Eleanor Antin has been creating narrative images in photography, video, film, performance, and installation. Her practices blur fiction and history, often with humorous wit, theatrical sensibility, and allegorical impulse. During her early career, Antin was associated with a group of artists who were recognized for returning the element of narrative to contemporary art, which until the 1970s had been dominated by highly abstract, purist work.
(via 100 Boots – KADIST)
Vase (Satsuma ware) Yabu Meizan (1853–1934)
Richard Nadler
my fav calvin n hobbes joke and no one ever puts it anywhere

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Better is an interesting word. New cuffs for a jacket i love, the whole thing is wearing out though… many more mends to come. Learning curve with the elastic.