Lately, I've been inspired by color. It's a simple way to organize a posting. Today I awake with green in mind. Maybe it is springtime, maybe it is something else. This lamp's propotions make me smile. It reminds me of a person I know.
" Sarah returns to Mississippi several times a year to reexamine locations that have been embroidered in her memory since childhood. Oftentimes, she revisits the same stretch of road, abandoned house or crooked tree in order to reconsider the photograph she has made repeatedly."
(maybe it is because i'm from the south, but sarah's portfolio had me in a trance..... her work speaks for itself...)
great photography! via tyt blog. one of my daily reads!
at NOHO Modern. Los Angeles.
R.M. Schindler Daybed designed for Basia GingoldUSA
This daybed was designed for Rudolph Schindler for Basia Gingold sometime between 1926 and 1940. This and other pieces were designed over time for Gingold for several residences in Los Angeles and Beverly Hills, and only recently became available. The Art Institute of Chicago is presently exhibiting several works from the same collection by Schindler.
via 1st dibs.
S1208 Two Panel screen of Gibbons on Mulberry Paper, c. 1910. Signed: UNJO.
(Kondo Unjo, b. 1856).
So it’s more methodical than meditative?
This meditative notion is kind of overrated as far as I’m concerned. I don’t think I’m meditating when I’m painting—I’m just painting. I meditate when I run in the morning.
But you’re working on a small scale and handling all this information without turning it into just visual noise. It’s not just working out a ratio—you’re not Sol Lewitt.
No, but I owe an enormous debt to him. I first saw his work in the 1970s when I was a student at Cornell. It was really remarkable. What interested me when I saw, for example, this small 7-by-5-inch ball point pen drawing called Two Thousand Diagonal Lines was that there was a humanity there. He made that drawing. He may have made it with a ruler, but the varying pressures of his hand, and getting so many lines into this rectangle—of course the result was this monochromatic field—gave it an enormous power and intensity. Maybe there was an existential lesson there. The sheer vastness of the notion and the compression in that picture were really influential for me. It took me a while to come back around to it. I made a lot of different things along the way.