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  1. 3
    iwentnorthdowneasthastings reblogged heytherebrah:

    heytherebrah:

    “On the way to the mailbox today, I slipped on some ice and almost hit my eye on a tree branch. I regained my balance and continued on. The guy walking behind me laughed. He had every right to laugh because it was funny and he had no tie to the physical pain I could’ve experienced. However, if I had lost my eye, I would’ve walked up to him and held him down in the snow—and let the blood from my empty eyesocket spill into his laughing mouth. My mail was mostly crap about credit cards that I will never use.”

    Sam Pink is great, especially if you’re socially awkward and/or psychologically screwed. One of the best books on my shelf.

     
  2. 72,401
    lissomelight reblogged dailystendhalnitesaudade:
    You know what's kind of beautiful?

    In French, you don’t really say “I miss you.” You say “tu me manques,” which is closer to “you are missing from me.”

    I love that. “You are missing from me.” You are a part of me, you are essential to my being. You are like a limb, or an organ, or blood. I cannot function without you.

    Source: timorleste
    #emma
     
  3. 211
    cavetocanvas:

    Cildo Meireles, Glimpsing, 1970/94

    From the New Museum:

    Like other Brazilian artists of his generation, Meireles has sought to enlist all the senses into the experience of his work. Before entering Entrevendo [Glimpsing, 1970/1994], a gradually tapering wooden tunnel, visitors are given two small pieces of ice, one slightly sweet and the other slightly salty, to put in their mouths. At the same time, from the far end of the dark tunnel an unseen fan blows warm air in the viewer’s direction. By privileging what are considered “lower” orders of perception (taste and touch) over sight, Meireles shows how an exclusively visual experience can cut us from our other senses and limit our awareness. 

    Source: cavetocanvas.com
    #art #art history #cildo meireles
     
  4. 4
    ohyesdavidsedaris:
    “I love things made out of animals. It’s just so funny to think of someone saying, ‘I need a letter opener. I guess I’ll have to kill a deer.’”
    — David Sedaris
    #David Sedaris #Interview #1997
     
  5. 71
    cavetocanvas:

    Cildo Meireles, Insertions into Ideological Circuits 2: Banknote Project, 1970

    From the Tate Collection:

    For the Banknote Project Meireles stamped subversive messages onto banknotes before returning them to normal circulation. The twenty-seven banknotes presented to Tate by the artist include varying denominations of cruzeiro notes – the Brazilian currency of the time – as well as US dollar bills. The messages, appearing in both English and Portuguese, include such anti-American slogans as ‘Yankees Go Home’ as well as calls for democracy and political freedom – ‘Straight Elections’ – and the words ‘Quem Matou Herzog?’ or ‘Who Killed Herzog?’, referring to a journalist who died in police custody under suspicious circumstances. Meireles stamped the banknotes on both sides – his message appearing on one side and the work’s title and the artist’s statement of purpose: ‘To register informations and critical opinions on bottles and return them to circulation’ – appearing on the other. The Coca-Cola Project follows a similar format: Meireles attached transparent labels with his slogans and the work’s title and purpose to the sides of Coca-Cola bottles which, once emptied of Coca-Cola, would be returned to the factory to be reused. Thus the artist’s messages circulated invisibly within Brazilian society. 

    Source: cavetocanvas.com
    #art #art history #cildo meireles
     
  6. 107

    Cildo Meireles, Insertions into Ideological Circuits: Coca-Cola Project, 1970

    From the Tate Collection:

    Meireles conceived his two Insertions into Ideological Circuits projects for an exhibition of conceptual art held at The Museum of Modern Art, New York in 1970 entitled Information. TheCoca-Cola Project and the Cédula or Banknote Project (see Tate T12512-38) explore the notion of circulation and exchange of goods, wealth and information as manifestations of the dominant ideology. For the Coca-Cola Project Meireles removed Coca-Cola bottles from normal circulation and modified them by adding critical political statements, or instructions for turning the bottle into a Molotov cocktail, before returning them to the circuit of exchange. On the bottles, such messages as ‘Yankees Go Home’ are followed by the work’s title and the artist’s statement of purpose: ‘To register informations and critical opinions on bottles and return them to circulation’. The Coca-Cola bottle is an everyday object of mass circulation; in 1970 in Brazil it was a symbol of US imperialism and it has become, globally, a symbol of capitalist consumerism. As the bottle progressively empties of dark brown liquid, the statement printed in white letters on a transparent label adhering to its side becomes increasingly invisible, only to reappear when the bottle is refilled for recirculation. The Currency Project followed a similar structure, with texts containing information and critical messages being stamped onto banknotes that were then returned to circulation. In both projects, the messages are in a mixture of English and Portuguese.

    Source: cavetocanvas.com
    #art #art history #cildo meireles
     
  7. 47

    Cildo Meireles, Physical Art: Cords / 30KM Extended Line, 1969

    Source: cavetocanvas.com
    #art #art history #cildo meireles
     
  8. 1
    mvrry:

    2 on Flickr.

    I’m talented

     
  9. 15
    iwentnorthdowneasthastings:

    image

    image

    #tallahassee #capitol #fsu #florida #penis #another penis
     
  10. 26
    mvrry:

    Patrick Wolf and Cybil Rouge grace the cover of the summer issue of Beige. 

    #patrick wolf