dadoodoflow

The Clean - Thumbs Off

Kevin Killian reading Spicer

(Source: Spotify)

gibsondeis:

Unica Zürn, “La Serpenta,” 1957

gibsondeis:

Unica Zürn, “La Serpenta,” 1957

thirdorgan:

Alexander Rodchenko (Russian: Алекса́ндр Миха́йлович Ро́дченко; 5 December [O.S. 23 November] 1891 – December 3, 1956)
Composition - Superimposed Triangles

thirdorgan:

Alexander Rodchenko (Russian: Алекса́ндр Миха́йлович Ро́дченко; 5 December [O.S. 23 November] 1891 – December 3, 1956)

Composition - Superimposed Triangles

grupaok:

Keith Haring, Untitled for Lick Fat Boys, August 1979.
Andrew Blackley, Johanna Burton and Scott Treleaven discuss Haring, feminism, activism, early work, etc. for Bomb.  ”This conversation between Andrew Blackley, Johanna Burton, and Scott Treleaven is the third and final component of Keith Haring: Languages. It supplements an exhibition at the Fales Library and Special Collections (NYU) of 130 never-before-exhibited, understudied artworks and documents held by the Keith Haring Foundation. A conference featuring nine speakers coincided with the exhibition’s opening, bringing together figures from across academic and professional disciplines in order to publicly address the lineages available in these text-based materials as adjacent and precedent to the more well-known visual art of Haring’s later career. The text below threads together the major themes from Keith Haring: Languages—historicity, methodology, and the readership of artists’ writings and papers as substantive material and theoretical categories.”
http://bombmagazine.org/article/1000216/keith-haring-languages

grupaok:

Keith Haring, Untitled for Lick Fat Boys, August 1979.

Andrew Blackley, Johanna Burton and Scott Treleaven discuss Haring, feminism, activism, early work, etc. for Bomb.  ”This conversation between Andrew Blackley, Johanna Burton, and Scott Treleaven is the third and final component of Keith Haring: Languages. It supplements an exhibition at the Fales Library and Special Collections (NYU) of 130 never-before-exhibited, understudied artworks and documents held by the Keith Haring Foundation. A conference featuring nine speakers coincided with the exhibition’s opening, bringing together figures from across academic and professional disciplines in order to publicly address the lineages available in these text-based materials as adjacent and precedent to the more well-known visual art of Haring’s later career. The text below threads together the major themes from Keith Haring: Languages—historicity, methodology, and the readership of artists’ writings and papers as substantive material and theoretical categories.”

http://bombmagazine.org/article/1000216/keith-haring-languages

(via havesexwithghosts)

lawrenceleemagnuson:

Willem de Kooning (1904-1997)Untitled (c . 1946) oil and charcoal on composition board 45.7 x 61 cmMetropolitan Museum of Art, New York

lawrenceleemagnuson:

Willem de Kooning (1904-1997)
Untitled (c . 1946)
oil and charcoal on composition board 45.7 x 61 cm
Metropolitan Museum of Art, New York

joereorda:

Hernan Bas
The 2014 Mr. General Idea Pageant, 2014
acrylic on linen
182.9 x 152.4 cm 
72 x 60 inches

joereorda:

Hernan Bas
The 2014 Mr. General Idea Pageant, 2014
acrylic on linen
182.9 x 152.4 cm
72 x 60 inches

AT THE HEART of the Industrial Revolution of the eighteenth century there was an almost miraculous improvement in the tools of production, which was accompanied by a catastrophic dislocation of the lives of the common people…Nowhere has liberal philosophy failed so conspicuously as in its understanding of the problem of change. Fired by an emotional faith in spontaneity, the common-sense attitude toward change was discarded in favor of a mystical readiness to accept the social consequences of economic improvement, whatever they might be.

— Karl Polanyi, The Great Transformation. (via blandarchist)

(I’m an Economics idiot blogging a fragment of something I never read by someone I only heard of five minutes ago in a book about magic.)

lawrenceleemagnuson:

Willem de Kooning (1904-1997)Abstraction (1950)mixedmedia on masonite 46 x 37 cm Thyssen-Bornemisza Collection, Madrid

lawrenceleemagnuson:

Willem de Kooning (1904-1997)
Abstraction (1950)
mixedmedia on masonite 46 x 37 cm
Thyssen-Bornemisza Collection, Madrid