Michelangelo Pistoletto

I remember seeing this work (Venus of Rags) in person at the Tate Modern when I was studying in London in 2010, but it really didn’t strike me at the time. Pushed up against a bare, white wall and paired with other contemporary Arte Povera works, it just looked dated, old-fashioned.

When we looked at this installation image in my 20th century European art class, however, it struck me differently. Recontextualized in a grand space infused with historical and cultural memory, it takes on an entirely different meaning than when it’s shown in the conventional white cube (see Tate installation here). At the Tate, it felt like an image of itself, simply an ironic, unspeaking example of an outmoded art movement. Here, it’s powerfully affective.

(via karensofiacolon)


Art from found photography by Amy Friend.


Art from found photography by Amy Friend.


Photographer Sofia Ajram


Constantin Brancusi, Bird in Space, 1932-40

From the Guggenheim:

The development of the bird theme in Constantin Brancusi’s oeuvre can be traced from its appearance in the Maiastra sculptures, through the Golden Bird group, and, finally, to the Bird in Space series. Sixteen examples of the Bird in Spacesequence, dating from 1923 to 1940, have been identified. The streamlined form of the present Bird in Space, stripped of individualizing features, communicates the notion of flight itself rather than describing the appearance of a particular bird. A vestige of the open beak of the Maiastra is retained in the beveled top of the tapering form, a slanted edge accelerating the upward movement of the whole.

This sculpture, closely related to a marble version completed in 1931, could have been cast as early as 1932 and finished in 1940. Though the shaft of the first Bird in Space was mounted on a discrete conical support, the support of the present example is incorporated as an organically irregular stem, providing an earthbound anchor for the sleek, soaring form.

As was customary in Brancusi’s work, the brass is smoothed and polished to the point where the materiality of the sculpture is dissolved in its reflective luminosity. Brancusi’s spiritual aspirations, his longing for transcendence of the material world and its constraints, are verbalized in his description of Bird in Space as a “project before being enlarged to fill the vault of the sky.”


Melissa A. Calderon

“Prone [1 of 4, My Unemployed Life series]” (2011), satin & cotton thread hand embroidery on linen, 11” x 14”,
The hand embroidered My Unemployed Life series converted a fallow time of unemployment into thoughtful, humorous works based on the trappings of the work of “not working”. The series of 4 embroideries took over a year, 6-9 hours each day, over 90,000 stitches.

(Source: thechocolatebrigade, via seppin)

source: nevver


Ummmm ok MIT, yer the smartiest!

Marcelo Coelho - Art-O-Meter’

Evaluating Art (So You Don’t Have To)

Art-O-Meter is a device that measures the quality of an art piece. It bases its evaluation on the amount of time that people spend in front of an artwork compared to the total time of exhibition. The measurements are graphically represented by comments and a 5-star rating system.

Without the interaction of a viewer, the Art-O-Meter will register time like a regular clock. However, when a user enters the area covered by its motion sensor, a second timer is triggered and it will count time as the viewer observes the artwork.