The Idler Wheel

shihlun:

Yayoi Kusama, Walking Piece, 1966.

Photos by Eikoh Hosoe.

‘Walking Piece’ (1966) is a series of colour photo slides on a projector. It documents Kusama’s feelings as an Asian female artist in the male-dominated New York art scene. The pictures have been clicked using fish eye lenses with the harsh city landscape as a foreboding backdrop. Kusama’s figure contrasts against the scenery, she’s wearing a bright floral patterned Kimono, and holding an umbrella decorated with flowers, thus making her look alienated from the city.

exhibition-ism:

Beautiful portraiture from Benjamin Garcia

chloelouisec:

University Project | Design Communication 3
Experience Design

First project of the third year. The brief asked us to pick a museum object and create an experience which would involve more of the audiences senses as oppose to just using sight and produce a concept pack for it. My object was the Bush Radio which can be located in the V&A Museum. My concept pack is a box which holds the concept document and the folder created for the experience [the folder consists of a booklet and a ticket, allowing the audience to take home something physical from the experience]. I believed a concept document would be the most suitable way to express how my design experience works. The colour scheme is based upon vintage colours and prints. 

nycartscene:

continues thru Jan 22:

Christopher Wool

Guggenheim, 1071 5th Ave., NYC

“Over a career that spans three decades, Christopher Wool has conducted a riveting investigation into the question of how to make a painting at a time when new possibilities for the medium might seem exhausted… Wool was born in 1955 and grew up in Chicago. By the time that he turned eighteen he had moved to downtown New York City, where the anarchic energy of the punk and No Wave scenes were a defining influence on his creative development. At the outset of his mature career in the mid-1980s, Wool abstained from the seductive expressionism of color and the gestural brushstroke in favor of stark, monochrome compositions that employed commercial tools and imagery appropriated from mass culture. His breakthrough body of work used rollers and stamps to transfer decorative patterns in severe black enamel to a white ground. His “word paintings” from the same period focused on language as image, confronting the viewer
 with anxious, enigmatic imperatives even as the stenciled letters disintegrate into abstract geometries. In both cases, Wool used unexpected breakdowns in his formal systems—slips and glitches, fractured text and erratic spacing—to convey emotional states ranging from pathos to aggression… Since the early 2000s, Wool has worked almost entirely with abstract forms, at once mediating and renewing the expressive potential of painting through strategies of replication, erasure, and digital manipulation.”

heldenkerl:

Riot Raki