(un)dead

View this post on Instagram

Didn’t it?! #unknownartist Selected by @arnaldpomotz

A post shared by ITISARTIME (@itisartime) on

INSTAGRAM COMMENT SECTION (How Comments Became the Best Part of Instagram)

-Nothing can kill Art -Got a lighter with a different opinion

-And, in many ways, helped breathe new life into it. Ying and Yang -*Yin

-No it didn’t. It opened up endless possibilities. It welcomed new audiences instead of the elite. There are many ways to create and consume art because of it. Some for the better some for the worst.

-Come from a country (Romania) where art is not appreaciated at all .. my only chance that my art to be seen is Instagram.

-Did create new art, or even expose artists to a new generation.

-Stop whining, it is a good platform to let new artists be known without a gallery in between

-It exposed me to art I would never have seen before. I don’t go to exhibits so if it wasn’t for insta I’d have never seen half of it

-Instagram is just another medium

-That’s what I’ve been saying for years! -Irony -What is ironic? -You’re an instagram account that posts pictures of art, complaining that instagram killed art. It’s ironic because you’re degrading the platform you use to spread art, because you think it’s destroying art -I post pieces of art to share stories from history and explain how light works. If anything, I am trying to help people be more aware. To remind why art exists and its purpose. Instagram kills art because it creates the illusion that anyone can be an artist. That everything, no matter how pointless or hollow, can be classified as “art”. Faking activity to receive some recognition from people who fake activity to receive recognition. A loop of fakeness. I am not spreading art. I am spreading knowledge. -That just sounds like pretentious bullshit. To view one’s opinion of art as higher than another’s is supercilious and arrogant. Art isn’t just high art anymore, you can’t fully experience art by perusing an art museum; art is so much broader than paintings and sculptures. Performance is art, music is art, there’s son many ways to explore art. You can’t tell people what’s art and what isn’t art. In my opinion, art is what people say it is. If you call something art, it becomes art; art is something that invokes a response. Anyone can be an artist, but what one does with art and if you succeed or fail is up to the quality and meaning of your art. Bad art exists, but in the eye of the beholder. Art cannot be objectively bad.

-Business killed art

-This is stupid in so many ways

-And … Roads kill cars …

-In some way yes. Every Instagram user claims to be an artist -Every person can be an artist if they are determined to become one. No one is born an artist. There’s a lot of people that get started on Instagram. I did, and I had really shitty artwork up for years, and I still am improving, but I probably wouldn’t ever have if I didn’t get such support through this platform.

-Art kills art

-Nice piece of art, but not true… maybe ironically

-*posted on an Instagram art page*

-Erase Instagram and art still exits

-In some ways. In other ways it reached all over the world. Anything that is stretched becomes less potent than its original form

-Or propelled it? Gave it a space to be shared-wider-than ever before? I don’t know, I have a hard time appreciating Instagram too.

-Art never dies.

-No, it’s good for art, a good platform.

-Art is eternal.

-What is art?

-If it is Art, it is not “killeable”

-Smartphones killed art. Any dingbat now has the ability to capture. Dat selfie art doe.

-And in many ways helped a lot of artists gain exposure…

-Sounds like old people bitchin about change -That’s exactly what it is… if there’s anything I actually do hate about social media, it’s all the elitists I see on it all the damn time.

-If your art was ruined by Instagram it wasn’t good art in the first place.

-This post killed art lol

-I agree with a lot of people here. Insta definitely is great for creating an art world outside of the elite, opened opportunities and shares the appreaciation of it all over the world

-Art can not be killed darling

-Everything is art. Everything comes and goes

-Instagram democratised art.

-Hardly. That’s like saying photography killed art. Or that digital killed art.

-No it didn’t. Nihilism is dead.

-That’s what they said about ANDY Warhol but you cannot kill art.

-In this context saying something has been killed kills it

-Nah, just changed it.

-In the days of Instagram, they will call crap art good and good art crap.

-Instagram can’t “kill” or “do” anything. If anything it has given people an opportunity to grind and connect with people that they would never have a chance to otherwise. I dare say memes like this one do more harm than good, I certainly don’t feel enlightened.

-If anything the internet and social propelled a new artistic movement. Now people don’t have to die before becoming famous for their work.

-Rich people did it

-Kill insta with art

-It killed the differentiation of good and bad art. Everything looks good at 4.5 inches.

-ART WILL SURVIVE, ARTISTS WON’T

-Tbh this is disrespectful to Van Gogh…

-Only if internet killed humanity¿

-Saved art

-Instagram did not kill art. It exposed it to be an elitist money laundering fakery that was abused… while at the same time opened up an easy “get in the public eye” avenue to many unknown, yet incredibly talented artists. If anything, instagram made arts more popular and accessible for anyone that otherwise would’ve never had a chance to show “their stuff”.

-No it’s reinventing it

 

dialécticas

View this post on Instagram

Hypnagogia: The Unique State of Consciousness Between Wakefulness and Sleep by Andreas Mavromatis. 1987, Routledge & Kegan Paul. . "This is the only work in English dealing with hypnagogia, the state of consciousness between wakefulness and sleep. It provides an exhaustive account of hypnagogia, bringing its diverse phenomena into a comprehensive framework. Dr. Mavromatis argues that this common, naturally occurring state may not only be distinct from wakefulness and sleep but unique in its nature and function, possibly carrying important evolutionary implications. He analyzes the relationship between hypnagogia and other states, processes and experiences- such as sleepdreams, meditation, psi, schizophrenia, creativity, hypnosis, hallucinogenic drug-induced states, eidetic phenomena and epileptic states- and shows that, functioning in hypnagogia, a person may gain knowledge of aspects of his or her mental nature which constitute fundamental underpinnings to all adult thought. In addition, functioning in hypnagogia is shown to play a significant part in mental and physical health." . . . . . . #consciousness #hypnagogia #hypnagogic #consciousnessstudies #sleep #dreams #liminal #liminality #liminalstates #meditation #hypnosis #psi #creativity #psychedelic #psychedelics #psychonaut #andreasmavromatis #psychology #philosophy #bookstagram #bibliophile #bookblog #bookcollector #neuroticavintagebooks

A post shared by Neurotica Vintage Books (@neurotica_vintage_books) on

View this post on Instagram

"I don’t really destroy things, I just change them, I change their shape, just like any sculptor does. I chose the refrigerator. I stoned it for a week, every day, until I got the shape really changed. I chose it because I wanted to throw stones at something as sculptural work, but I wanted an object that no one would care about. I thought that if I stoned a TV or an automobile, everyone would be glad and care in some way or another, and I thought that a refrigerator was completely neutral. It was, until I started stoning it and then it wasn’t neutral anymore. Then it started being brave, so that in the end I called it Saint Frigo, because it was a martyr. I saved its life by making it a martyr. It was going into the trash, now it’s eternal, now it’s art." Jimmie Durham piece from 1996 #jimmiedurham #work2day

A post shared by work2day (@work2day) on

View this post on Instagram

#sculpture #theadjordjadze #blue #object

A post shared by JJ (@obj_object) on

View this post on Instagram

Thomas Van Lingue #ThomasVanLingue

A post shared by @ ____gino on

https://www.instagram.com/p/BZbrGAjHxnZ/

View this post on Instagram

#folded #painting #contemporaryart

A post shared by Tess Williams (@tess_williams_studio) on

https://www.instagram.com/p/BMmHbexhBRW/

https://www.instagram.com/p/BZS4J1qAHma/

https://www.instagram.com/p/BRdExpxglVK/

https://www.instagram.com/p/BWC6ch7lfTn/

View this post on Instagram

14/365 blank slate

A post shared by erikashisler (@erikashisler) on

View this post on Instagram

#emptybillboard

A post shared by Joe Bruns (@joy_buns) on

https://www.instagram.com/p/BM5Zd7Ngb-H/

https://www.instagram.com/p/BG-JAqyAEA0/

View this post on Instagram

#emptybillboard #nothingisordinary #spacey #spacescape

A post shared by joe (@r3phl3x) on

View this post on Instagram

#nothingisordinary #spacey #emptybillboard

A post shared by joe (@r3phl3x) on

View this post on Instagram

kode 9 & the space ape|love is the drug

A post shared by vassilis (@bilan_) on

View this post on Instagram

#faildeadly #vincentbezuidenhout Declassified documents printed on standard A4 copy paper, plinth. In the 1970 and 80’s South Africa built six atom bombs in seemingly complete secrecy. As the apartheid system crumbled the program was swiftly disbanded before the advent of democracy. Pelindaba consists of more than 900 pages of declassified documents from various sources including the N.S.A., C.I.A. and internal government communications regarding South Africa’s clandestine Nuclear weapons program during apartheid. These documents cover a period of twenty-five years of South African nuclear policy, from early uranium supply arrangements under the United States-South Africa Atomic Energy Bilateral to the South African response to the September 1979 Vela incident and the subsequent destruction of its nuclear program. Large sections within these documents have been redacted.

A post shared by Vincent Bezuidenhout (@vincent_bezuidenhout) on

View this post on Instagram

HBRD

A post shared by Great Art in Ugly Rooms (@greatartinuglyrooms) on

View this post on Instagram

Abraham Zabludovsky

A post shared by Lenz Vermeulen (@city_furniture_) on

View this post on Instagram

making sure i share a special one ✨

A post shared by Hayley Eichenbaum (@inter_disciplinary) on

View this post on Instagram

Smite by Mark Bradford #markbradford

A post shared by Avant Arte (@avant.arte) on

View this post on Instagram

artwork by Thea Djordjadze. #theadjordjadze #spruethmagers

A post shared by TIMO_OHLER_FOTOGRAFIE (@timo_ohler_fotografie) on

https://www.instagram.com/p/Ba3SHqMgex_/

 

fachadas

Ángel González García. Cuatro lecciones sobre Mark Rothko (II)(II) “A propósito de Mark Rothko (II)” 19/11/1987

¿Y es Nueva York la ciudad más hermosa del mundo?
No dista mucho de serlo. No hay noches urbanas como las suyas. He contemplado a la ciudad desde la altura de ciertas ventanas. Es cuando los grandes edificios pierden realidad y asumen sus poderes mágicos. Son incorpóreos, es decir que uno no ve sino las ventanas encendidas.
Cuadrado en llamas tras cuadrado en llamas, engastados en el éter. Aquí hay poesía, pues hemos hecho descender a las estrellas (…)

Patria Mía. Ezra Pound (1885 – 1972)

 

Mark Rothko, Underground Fantasy, c. 1940, oil on canvas, Gift of The Mark Rothko Foundation, Inc., 1986.43.130

 

Sandra Lousada. Rothko Exhibition 1961 at The Whitechapel Gallery London.

 

Entrance to Subway (Subway Station / Subway Scene)1938 by Mark Rothko

 

Mark Rothko – Entrance to a Subway (1938)

 

Rothko Exhibition 1961 at The Whitechapel Gallery London. Sandra Lousada became a photographer in the late 1950s.

 

Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada

 

Mark Rothko at Whitechapel Gallery, 1961; photo: Sandra Lousada

 

Mark Rothko Untitled [Woman in Subway], 1936
Mark Rothko (1903-1970), Subway, 1935, c/o Pictoright Amsterdam 2011. Oil on canvas, 24 x 18 in. Collection Kate Rothko Prizel.

 

Installation view of Mark Rothko, Portland Art Museum

 

Mark Rothko. 1964.

 

“I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.”

Mark Rothko

Instadialectics

Photo by @codycobb

A post shared by Booooooom.com (@booooooom) on

British Cops Want to Use AI to Spot Porn—But It Keeps Mistaking Desert Pics for Nudes

“Sometimes it comes up with a desert and it thinks its an indecent image or pornography,” Mark Stokes, the department’s head of digital and electronics forensics, recently told The Telegraph. “For some reason, lots of people have screen-savers of deserts and it picks it up thinking it is skin colour.”

Presents "Body landscape" By : @silvazquezphotography Congratulations and thanks for tagging #minimalism42. Check out this artists gallery for more awesome minimal shots! ________ @minimalism42 is a part of the @surreal42 (#surreal42) family. Follow @minimalism42 and tag your minimal creations to #minimalism42 for a chance to be featured. _________ Feature selected by @whispersaroundatree _________ #minimal #minimalism #surreal_minimalism #lightedlight #creative_minimalism #body #minimalchile #minimalha #lessismore #minimalzine #subjectivelyobjective #thisveryinstant #collecmag #somewheremagazine #abstractexpressionism #postthepeople #rentalmag #myfeatureshoot #lensculture #burnmagazine #oftheafternoon #verybusymag #ourmag #thisaintartschool #highsnobiety #seekthesimplicity #odtakeovers #archivecollectivemag

A post shared by Tag #minimalism42 (@minimalism42) on

“El algoritmo de la policía londinense no distingue un desierto de un desnudo.” (…) “Cuando el programa debía señalar o “flaggear” a personas desnudas fallaba y por mucho, demostrando poseer una mirada especialmente pecaminosa.” (…) “Confundía imágenes del desierto y sinuosas dunas de arena con piel humana, con cuerpos desnudos.”

https://www.instagram.com/p/Bf8zcw9BLmy/?hl=es&taken-by=rentalmagazine

-Send dunes.

peripeteia

VICKY VICTORIA (2016). Mapa visual con imágenes halladas en Internet y en el archivo familiar. / Visual Map built up with images found on the web and family photo-archive. 120×80 cm.

En un contexto social en el que el espacio público y la memoria histórica se hallan en deriva, se evidencia la imperiosa necesidad de reinvención de la noción de lo común. Resulta para ello imprescindible llevar a cabo un ejercicio de reflexión crítica, poniendo en cuestión lo habitual, lo asumido como natural dentro de nuestra cotidianidad.

In a social context in which public space and historical memory are drifting, an urgent need to reinvent the notion of the commons is evidenced. It is essential to carry out an exercise of critical reflection, questioning the habitual and taken-for-granted, all what is assumed as natural in our daily lives.
Monumento del Arco de la Victoria de Moncloa. / Victory Arch of Moncloa (Madrid).
Establecer un diálogo en relación al espacio público, la memoria y el arte, generando conexiones virtuales. / To establish a dialogue on public space, memory and art, creating virtual connections.
Fotografías de Albert Louis Deschamps tomadas a las pocas horas de la entrada de las tropas de Franco en Madrid a finales de marzo de 1939. En la imagen vemos el viaducto de Cantarranas o de los Quince Ojos, una de las estructuras que Eduardo Torroja Miret (1899-1961) construyó en la Ciudad Universitaria antes de la guerra. / Albert Louis Deschamp’s photographs taken a few hours after the entry of Franco’s troops in Madrid in late March 1939. The picture shows the Cantarranas or Fifteen Eyes Viaduct, one of the structures that Eduardo Torroja (1899-1961) built in the University City of Madrid before the war.

Paseo por una guerra antigua: memoria fragmentaria from B Prummer on Vimeo.

Un hombre mutilado camina, apoyándose en una muleta, por la Ciudad Universitaria de Madrid, donde perdió una pierna, recordando lo ocurrido durante la Guerra Civil…

Montaje realizado a partir del material grabado como práctica de fin de curso 1948-49 del IIEC por Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.

Dirección: Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.
Argumento y guión: Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.
Fotografía: Antonio Navarro Linares (B/N).
Reparto: Agustín Lamas.
Año de producción: 1949

Enigma

DSC01817-2

DSC01816-2
Corcubión, Galicia

The true has no windows. Nowhere does the true look out to the universe. And the interest in the panoramas is in seeing the true city. ‘‘The city in a bottle’’—the city indoors. What is found within the windowless house is the true. One such windowless house is the theater; hence the eternal pleasure it affords. Hence, also, the pleasure taken in those windowless rotundas, the panoramas. In the theater, after the beginning of the performance, the doors remain closed. Those passing through arcades are, in a certain sense, the inhabitants of a panorama. The windows of this house open out onto them. They can be seen out these windows but cannot themselves look in.

W. Benjamin, The Passagenwerk (Arcades Project, 1927–40), (AP, F°,24)

El concreto interés del panorama consiste en ver la auténtica ciudad, la ciudad en la casa. Lo que hay en la casa sin ventanas, eso mismo será lo verdadero. En lo que hace al pasaje, también es una casa sin ventanas. Las que se abren a él son como palcos desde los que es posible mirar hacia dentro, pero no lo es en cambio mirar hacia afuera. –Lo verdadero carece de ventanas y, por ello, no tiene ningún sitio donde mirar afuera, al universo–.

Obra de los pasajes
Obra de los Pasajes, Q 2 a, 7

To pause therefore and seek the reasons of things is out of the question.

V. Woolf, Orlando, 1928.

Everyone wants the man who is still searching to have already reached his conclusion. A thousand voices are already telling him what he has found, and yet he knows that he hasn’t found anything.

A. Camus, “Enigma”, Summer, 1954.

No sé lo que busco, lo nombro con prudencia, me desdigo, me repito, avanzo y retrocedo. Sin embargo, se me ordena dar los nombres, o el nombre, de una vez para siempre. Entonces me revuelvo, ¿acaso lo que se nombra no se ha perdido ya?

A. Camus, “Enigma”, El verano, 1954.

El reformador más sincero, que en un lenguaje desgastado recomienda la innovación, al asumir el aparato categorial prefabricado y la mala filosofía que se se esconde tras él refuerza el poder de la realidad existente que pretendía quebrar. La falsa claridad es sólo otra expresión del mito. Este ha sido siempre oscuro y evidente a la vez, y desde siempre se ha distinguido por su familiaridad y por eximirse del trabajo del concepto.

La dialéctica de la ilustración, pág. 54 CEME – Centro de Estudios Miguel Enríquez – Archivo Chile