About
Search for content
Like something out a Terry Gilliam film, FEEAS jewelry by Remedios Vincent creates jewelry from antique medical instruments, porcelain figures, and prosthetics. Drawn to objects that have to do with the human body and its improvement, he chooses each piece for its beauty, longevity, and ability to make a statement about he current state of planned obsolescence in fashion. With his motto, “made to dislike”, Vincent’s work stirs feelings of morbid fascination through eyelash encrusted glasses, false eye rings, and broaches spangled with teeth. More than just a way to repurpose aging, outdated medical technology and discarded toys, FEEAS jewelry uses historical context and craft to comment on the lack of quality and skill we find in current industry-driven style.
(via infamousaccessories)
![arpeggia:
Bruce Nauman - Changing Light Corridor with Rooms, 1971
During the 1960s and 1970s, Nauman created various claustrophobic and enclosed spaces that were designed to disorientate his audiences. In this installation, a long corridor is shrouded in darkness, whilst two rooms on either side are illuminated by bulbs that are timed to flash at different rates. The particular length and width of the corridor, together with the intensity of the intermittent lights, function to direct our movements as we traverse the space. No longer simply passive spectators, Nauman transforms us into active participants who are nevertheless controlled and manipulated by his reconstruction of the gallery’s layout. [National Galleries of Scotland]](http://24.media.tumblr.com/eab201fbc964d3539e52094e7d2e032a/tumblr_mn8kb7BFQU1qdrgo9o1_500.jpg)
Bruce Nauman - Changing Light Corridor with Rooms, 1971
During the 1960s and 1970s, Nauman created various claustrophobic and enclosed spaces that were designed to disorientate his audiences. In this installation, a long corridor is shrouded in darkness, whilst two rooms on either side are illuminated by bulbs that are timed to flash at different rates. The particular length and width of the corridor, together with the intensity of the intermittent lights, function to direct our movements as we traverse the space. No longer simply passive spectators, Nauman transforms us into active participants who are nevertheless controlled and manipulated by his reconstruction of the gallery’s layout. [National Galleries of Scotland]
(via arpeggia)
miks mitrevics, entropy III (collaboration w. k. kursisa). 2009; fog machine, pipe, dry ice
(via cadaverous-boy)
‘Layers’ light installation at the Swedish Institute, Paris, by Daniel Rybakken
Philippe Parreno
Speech Bubbles,1997-2000
mylar balloons, helium, installation dimensions variable
Chris Engman
The Meeting, 2004
Archival Inkjet Print 76 x 91 cmThe Library, 2004
Archival Inkjet Print 69 x 97 cmThe Consummation, 2005
Archival Inkjet Print 76 x 88 cmDisappearance, 2004
Archival Inkjet Print 50 x 40 cmThe Audience, 2004
Archival Inkjet Print 76 x 91 cm
Bas Jan Ader
All my clothes, 1970
Gelatin silver print, 28 x 35.5 cm
‘All My Clothes’ recalls an affecting biographical moment: the frantic actions of the artist’s own mother when given 15 minutes to prepare for detainment by the German Army during WWII resulted in her flinging her clothes out of the windows.
(via museumuesum)
a collaborative building projet
vito acconci + steven holl
Brice Marden
Adriatics (A), 1973, Etching with aquatint, 32 9/16 x 22 1/4 inches
Adriatics (B), 1973, Etching with aquatint, 32 5/8 x 22 1/4 inches
Adriatics (C), 1973, Etching with aquatint, 32 1/2 x 22 3/16 inches
Adriatics (D), 1973, Etching with aquatint, 34 3/8 x 23 7/8 inches
Adriatics (E), 1973, Etching, 34 3/8 x 23 7/8 inches
Adriatics (F), 1973, Etching, 32 9/16 x 36 3/8
Adriatics (G), 1973, Etching, 32 5/8 x 36 inches
Alexander Calder, Little Face, c. 1943; Copper wire, thread, glass, and wood.
(via blushingcheekymonkey)
