The whimsical and transparent figures in Megan Diddie’s watercolors and paintings are busy doing all sorts of unusual things like eating small bony creatures, breathing flora into their lungs, and tarring and feathering themselves. ( by Amir)
Friday May 5 @ 03:15pm
i’ve had a resurgence of interest in kurt schwitters recently after learning that he and my great-grandfather were interned in the same isle of man camp at the same time by the british. apparently he would do performances of his sound poems for the inmates. what a guy.
reality.
Speaking of cultural appropriation, here is an illustration I did on the subject for Terror Magazine.
This is on my wall, always!
When I see this picture, I think about all the black men roaming the streets who are instantly criminalized like Basquiat probably was as a young homeless man. These young black men are the canvases on which this hateful and violent white supremacist society projects its hatred and violence. Yet many of those men have a world full of poetry and grace like Basquiat.
Aerial is a new site-specific installation by Baptiste Debombourg at an old Benedictine monastery called Brauweiler Abbey near Cologne, Germany. Debombourg used numerous sheets of shattered laminate glass to mimic a frothy flood of water rushing into a room.
Hannah Höch, Meine Haussprüche (Proverbs to Live By), 1922, photomontage and collage with ink, zinc white, graphite, crayon, and colored pencil on board, 32 x 41.3 cm (12 5/8 x 16 1/4 in.)
Berlinische Galerie—Landesmuseum für Moderne Kunst, Fotografie und Architektur
© Hannah Höch/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
black opal appreciation
Thursday Apr 4 @ 01:43am
Marcel Duchamp, Rrose Selavy et moi estimons les ecchymoses des esquimaux aux mots exquis, Encart du n° 18 de la Revue 391. Paris, juillet 1924. 28 x 27,5 cm. Reproduit la photographie par Man Ray d’un des cartons utilisés pour la Machine optique et le film Anemic Cinema de Marcel Duchamp.
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amare-habeo:
Hannah HÖCH - On gold paper [Auf Goldpapier] c.1920, 23.6 h x 20.2 w cm
National Gallery of Australia
© Hannah Höch/VG Bild-Kunst. Licensed by Viscopy](http://25.media.tumblr.com/tumblr_l5rf1hHtiN1qa1j80o1_1280.jpg)
Hannah HÖCH - On gold paper [Auf Goldpapier] c.1920, 23.6 h x 20.2 w cm
National Gallery of Australia© Hannah Höch/VG Bild-Kunst. Licensed by Viscopy
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Johannes Baargeld, Max Ernst, Manifeste We 5 (West stupidien), 1920, maquette pour la couverture du Manifeste We 5 [model for the cover of the We 5 manifesto], collage sur carton [collage on cardboard], 28,5 x 30,8 cm, collection particulière [private collection], courtesy Galerie Natalie Seroussi, Paris.](http://25.media.tumblr.com/tumblr_lz15kjkEsd1r9j6pro1_1280.jpg)
Johannes Baargeld, Max Ernst, Manifeste We 5 (West stupidien), 1920, maquette pour la couverture du Manifeste We 5 [model for the cover of the We 5 manifesto], collage sur carton [collage on cardboard], 28,5 x 30,8 cm, collection particulière [private collection], courtesy Galerie Natalie Seroussi, Paris.
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Max Ernst, Johannes Baargeld, re = de laut! sei tap = fer! [Parle fort! Soi courageux! - Speak loud! Be brave!], 1920, maquette pour la couverture du manifeste We 5, collage sur carton [model for the cover of the We 5 manifesto, collage on cardoard], 28,5 x 33 cm, collection particulière [private collection], courtesy Natalie Seroussi, Paris.](http://25.media.tumblr.com/tumblr_lz15b95L471r9j6pro1_1280.jpg)
Max Ernst, Johannes Baargeld, re = de laut! sei tap = fer! [Parle fort! Soi courageux! - Speak loud! Be brave!], 1920, maquette pour la couverture du manifeste We 5, collage sur carton [model for the cover of the We 5 manifesto, collage on cardoard], 28,5 x 33 cm, collection particulière [private collection], courtesy Natalie Seroussi, Paris.
