For today, a shot of Diana Gonzalez-Gandolfi’s encaustics, as seen in our current show, Up From the Cracks, on view until November 16.
Eva Hesse, Right After, 1969.
Joseph Beuys, The End of the Twentieth Century, 1983-85
From the Tate Collection:
A major theme in Beuys’s work was renewal. This sculpture developed out of his environmental concerns, particularly a plan to plant 7,000 oaks in the city of Kassel, Germany. Next to each newly planted tree would be placed blocks of basalt rock. Here, the basalt itself becomes a symbol of potential growth. A cone has been cut out of each rock, allowing the cavity to be lined with clay and felt. Embedded in dead matter, these materials suggest the possibility of new life emerging at the end of a dark century.
Things we love: hares, Tartars, sleds, felt, animal fat and Joseph Beuys. Happy 91st birthday to the artist, teacher, philosopher and shaman.
Maurizio Cattelan, 2007.
Dan Flavin was born on April Fool’s Day!
Nancy Holt, Sun Tunnels (1973-1976)
The perfect reblog for a rainy day.
Awesome Women on International Women’s Day: Shirin Neshat.
An Iranian artist whose work examines the social and cultural place for women in Islamic society, like in her “Women of Allah” visual art series. She also does performance art and works with film. Neshat directed the complicated and beautiful film, “Women Without Men,” which was an adaptation of a magical realist novel by Shahrnush Parsipur about three women in Tehran during the 1953 coup.
Shirin Neshat, Rebellious Silence, 1994. B&W RC print & ink (photo taken by Cynthia Preston); 11 x 14”/27.9 x 35.6 cm. [Via]
Because it’s her birthday, he’s some Shirin Neshat.
A photo taken through Megan Suttles’ Concealed, during the March 3rd reception for our current exhibition, OCD (Obsessive Compulsive Design).
Asha Ganpat’s The Marys, currently on view at our OCD (Obsessive Compulsive Design) exhibition, now through April 27th.