Un sarcófago lleno de plumas. Aesthetic, passionate and arbitrary.

tmills:

I don’t trust people who are quick to give nicknames. There’s power in how you want to be identified, starting with your name, and any attempt to change that is an attempt to take this power from you, however small or seemingly inane. Nicknames are disrespectful in this regard, they replace your identity with how the other wants to perceive you and your relation to them.

(via 1000reasonsnottostartmakingart)

Wednesday 4/9/2014

(83 notes)

Philip Galanter, Untitled (F091148), 2002
Friday 3/21/2014

(1 note)

philip galanter; 2002;

Philip Galanter, Untitled (F091148), 2002

"I think it’s important to note that just because a work is exploring complexity as a topic that doesn’t mean the piece itself has to be complex in the everyday sense of the word. My own bias is that complexity art may well reinvigorate minimalist values. After all minimalism was never about making a minimum of art, it was about making maximal art with minimal means. It’s not surprising that it lead to conceptual art because the stripped down nature of minimalism demanded precision, clarity, and focus to succeed."

(2 notes)

philip galanter;

"The artwork should be the generative process not the trace the generative process leaves behind. Verbs not nouns."
Tuesday 3/18/2014

(6 notes)

processing;

This program sequentially reads the color of every pixel of an image and displays this color to fill the window.

"

Mucho debo
a quienes no amo.

El alivio de enterarme
que intiman con otros.

La alegría de no ser
el lobo de sus ovejas.

En paz estoy con ello
y en libertad,
dos cosas que el amor no puede dar
ni sabe tomar.

No los espero
yendo y viniendo de la puerta a la ventana
con la paciencia
de un reloj de sol,
comprendo
lo que el amor no comprende,
perdono
lo que el amor jamás perdonaría.

Entre una carta y una cita
no trascurre una eternidad,
sino sólo días o semanas.
Los viajes son siempre perfectos a su lado,
los conciertos se escuchan,
las catedrales se visitan
los paisajes se contemplan.

Y cuando siete montes y ríos
nos separan,
son montes y ríos
señalados en el mapa.

Suyo es el mérito
de poder yo vivir en tres dimensiones,
en un espacio no lírico y no retórico,
frente a un horizonte movedizo y, por tanto, real.

Ignoran
cuánto me entregan sus manos vacías.

"Nada les debo",
diría el amor
acerca de tan discutible cuestión.

"
Chris Sugrue, Delicate boundaries, 2007

Chris Sugrue, Delicate boundaries, 2007

Wednesday 2/26/2014

connie imboden;

"In art as in lovemaking, heartfelt ineptitude has its appeal and so does heartless skill, but what you want is passionate virtuosity."
Friday 1/24/2014

(191 notes)

john barth;

(1,537 notes)

josef albers; 1976; 70s;

design-is-fine:

Josef Albers, Color sheets and layout of the Never Before series, 1976. Metropolitan Museum.

(Source: blackheartpress)