thejogging: Jeff Koons Koonses Koons, 2013 Sculpture ⌘∞
exasperated-viewer-on-air: Carl Andre - 3rd Steel Triangle, 2008 steel 1 x 150 x 150 cm Ahmet Öğüt - intervention n.1, 2011 2 tape measures dim. unkn. In Once upon a time a clock-watcher during overtime hours, Ögüt’s solo exhibition at the Fondazione Giuliani, the artist moves his practice in a new direction, using an art collection as source material. Ögüt has selected works by Marina Abramovic, Giovanni Anselmo, Carl Andre, Mircea Cantor, Peter Coffin, Cyprien Gaillard, Joseph Kosuth and Sislej Xhafa from the Giuliani Collection to create “atmospheres” or interventions around each work which call attention to the characteristics of the works themselves, while also appropriating them to create multi-layered narratives with an open trajectory to generate and expand upon new meanings. Underlining these interventions is the consideration that no artwork has one single reading but is open to subjective interpretation. While paying homage to the works by these artists, Ögüt questions authorial originality and intentionality. He creates visual texts, which invite the viewer to really ponder a work of art while formulating new considerations and multiple readings. (Adrienne Drake)
postpatternism: Via post-patternism
who-wore-it-better: Olafur Eliasson & Ma Yansong Feelings are Facts  ::  Ann Veronica Janssens Mist room
who-wore-it-better: David Lamelas Limit of a Projection  ::  Anthony McCall Line describing a cone
gallowhill: Coming Down in Ecstasy, 2010 by Yochai Matos
traceycoffin: De Wain Valentine.
jennilee: Aten Reign -  James Turrell - Guggenheim
I like to paint light information as a field for a seeing experience.`
━ Peter van Riper
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jennilee: ‘The daily encounter with reality, the fictions, the surrogates, the ambiguous, poetic or alienating aspects, all seem to preclude any way out of the labyrinth, the walls of which are ever more illusory… to the point at which we might merge with them… The meaning that I am trying to render through my work is a verification of how it is still possible to desire and face a path of knowledge, to be able finally to distinguish the precise identity of man, things, life, from the image of man, things, and life.’ Luigi Ghirri (via Luigi Ghirri at Matthew Marks (Contemporary Art Daily))
We can’t jump off bridges anymore because our iPhones will get ruined. We can’t take skinny dips in the ocean, because there’s no service on the beach and adventures aren’t real unless they’re on Instagram. Technology has doomed the spontaneity of adventure and we’re helping destroy it every time we Google, check-in, and hashtag.
━ We Can’t Get Lost Anymore - Jeremy Glass (via alesthetique)

(Source: her0inchic, via alesthetique)

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christopherschreck: Israel Lund featured at Dazed Digital “All of my paintings use silk screens to screen print on raw canvas, but unlike the traditional process of screen printing there is no image per se that I am starting with. Instead I used a standard 8.5x11” piece of paper to burn in to the screen, which determines the size of the painting and which I also work within to generate the image. The subsequent image is a result of how much pressure I apply with the squeegee, how much ink I use, and the raw canvas texture. For the paintings in the show at Roberts & Tilton I photographed a small b&w painting with a PDF making app on my phone, blew up the image to 34x44”, and burned that image back into a silk screen. That image was then screen printed through a de facto cmyk process (except no black was used), and since the canvas is raw it resists a perfect image to be printed and leads to the variation.” http://www.dazeddigital.com/artsandculture/article/16045/1/israel-lund
who-wore-it-better: Oliver Osborne Eyes (Tom Hanks Paintings)  ::  Oliver Rafferty Upside Down Tuymans