Isamu Noguchi
Sculpture for the Pavilion of Labor for the New York World’s Fair, 1938–39. Plaster.
The Noguchi Museum Archives, 01531.©
The Isamu Noguchi Foundation and Garden Museum, NewYork / Artists Rights Society (ARS)
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Isamu Noguchi
Sculpture for the Pavilion of Labor for the New York World’s Fair, 1938–39. Plaster.
The Noguchi Museum Archives, 01531.©
The Isamu Noguchi Foundation and Garden Museum, NewYork / Artists Rights Society (ARS)

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“The role of the artist is exactly the same role, I think, as the role of the lover. If you love somebody, you honor at least two necessities at once. One of them is to recognize something very dangerous, or very difficult. Many people cannot recognize it at all, that you may also be loved; love is like a mirror. In any case, if you do love somebody, you honor the necessity endlessly, and being at the mercy of that love, you try to correct the person whom you love. Now, that’s a two-way street. You’ve also got to be corrected. As I said, the people produce the artist, and it’s true. The artist also produces the people. And that’s a very violent and terrifying act of love. The role of the artist and the role of the lover. If I love you, I have to make you conscious of the things you don’t see. Insofar as that is true, in that effort, I become conscious of the things that I don’t see. And I will not see without you, and vice versa, you will not see without me. No one wants to see more than he sees. You have to be driven to see what you see. The only way you can get through it is to accept that two-way street which I call love. You can call it a poem, you can call it whatever you like. That’s how people grow up. An artist is here not to give you answers but to ask you questions.”
— James Baldwin, “The Black Scholar Interviews James Baldwin,” Conversations with James Baldwin (edited by Fred L. Standley and Louis H. Pratt)
Miquel Barcelo'
Lucien Clergue, Nu de la Foret, 1973
PETER KUBELKA
“Antiphon” is a term used in church music to signify the response, the counter- chant, in a choral piece. It’s an appropriate title for a film that will mirror an older one, and it ties in nicely with Kubelka’s idea of cinema as an alternative form of liturgy. “In fact, the antiphon is older than human life,” Kubelka remarks. “Birds, frogs, and cicadas have been communicating that way for millions of years. And it’s also in our every-day communication, in our greeting verbiage, for example, in the repetition of ‘How do you do?’”

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Citric
Arnulf Rainer, Overpainted Cross with Christ, 1987
by Arnulf Rainer
Arnulf Rainer - Ohne Titel (Landschaft übermalt)
Hans Christian Andersen's "The Little Mermaid" by Helen Stratton (1899)

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Illustration from Murzilka by Evgenii Rachev (1906-1997)
(x)
Women's Flax and Others - Paula von Goeschen-Rösler , 1917.
German , 1875-1941
Tempera and pencil on paper , 39.4 x 29.4 cm. 15.5 x 11.5 in.
David Hockney Rain, from The Weather Series (NGA/Gemini 23.4), 1973 Color lithograph and screenprint on Arches watermarked paper; signed 'David Hockney 73' in green pencil along the lower edge
RIP David Hockney
David Hockney, My Mother, Bolton Abbey, Yorkshire, November 1982, 1982
LP (the artistry of)

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Lucas Samaras
Lucas Samaras (Greek/American, b. 1936)
Untitled (Floating Woman), 1962
Pastel on black paper