A Whispered Remark Changed A Girl’s Life
An evening of the unnamed feeling
Evening begins promptly at 8pm, no exiting or late entry
10:00 pm • 20 February 2014 • 29 notes
Map of American Rivers by Nelson Minar
9:58 pm • 20 February 2014 • 3 notes
Maryland endangered plants 1.white fringed orchid Platanthera blephariglottis
2.goldthread Coptis trifolia
9:43 pm • 18 February 2014 • 1 note
Salon 94 (2 locations), 243 Bowery & 1 Freeman Alley, NYC
With his first New York gallery solo show in ten years, Adkins presents Nenuphar, a recital that treats the legacies of George Washington Carver (1864-1943) and Yves Klein (1928-1962), focusing on unfamiliar aspects of both men. Adkins is an interdisciplinary artist and musician known for engaging with historical narratives, often reinventing and reintroducing biographies through installation based experiences called ”recitals”. His approach to art making is similar to that of a composer, and his installations are conceived as scores that punctuate and demarcate space, creating interplay among pieces in different media. - thru Jan 11
2:02 am • 9 February 2014 • 233 notes
Bohdi Wind (sunglasses), from the mural he made for Robert Altman’s 3 Women. A few years after the 3 Women murals were painted Bodhi Wind was struck and killed by an oncoming vehicle after stepping off of a London curb.
6:35 pm • 4 January 2014
oil on canvas
2:56 pm • 23 December 2013 • 32 notes
INSTALLATION BY FÉLIX GONZÁLEZ-TORRES
September 16 - November 20, 1988
When I was asked to write a short statement about the work in this space I thought it would be a good opportunity to disclose and, in a certain sense, to demystify my approach. I hope that it will guide the viewer and will allow an active participation in the unravelling of the meaning and the purpose of this work. Many may consider this text redundant; and unnecessary intrusion, or even a handicap. It is assumed that the work must “speak for itself,” as if the divine dogma of modernism were able to deliver a clear and universal message to a uniform “family of man.” Others know this is not true that each of us perceives things according to who and how we are at particular junctures, whose terms are always shifting. Preferably the exhibition gallery will function as an educational device, simple and basic, without the mysteries of the muse, reactivating history to affirm our place in this landscape of 1998.
This work is mostly personal. It is about those very early hours in the morning, while still half asleep, when I tend to visualize information, to see panoramas in which the fictional, the important, the banal, and the historical are collapsed into a single caption. Leaving me anxious and responsible to anchor a logical accompanying image scanning the TV channels trying to sort out and match sound and sight. This work is about my exclusion from the circle of power where social and cultural values are elaborated and about my rejection of the imposed and established order.
It is a fact people are discriminated against for being HIV positive. It is a fact the majority of the Nazi industrialists retained their wealth after war. It is a fact the night belongs to Michelob and Coke is real. It is a fact the color of your skin matters. It is a fact Crazy Eddie’s prices are insane. It is a fact that four colors red, black, green and white placed next to each other in any form are strictly forbidden by the Israeli army in the occupied Palestinian territories. This color combination can cause an arrest, a beating, a curfew, a shooting, or a news photograph. Yet it is a fact that these forbidden colors, presented as a solitary act of consciousness here in SoHo, will not precipitate a similar reaction.
From the first moment of encounter, the four colour canvases in this room will “speak” to everyone. Some will define them as an exercise in color theory, or some sort of abstraction. Some as four boring rectangular canvases hanging on the wall. Now that you’ve read this text, I hope for a different message.
For all the PWAs.
(Source: mossfull, via ekwws)
8:48 pm • 18 December 2013 • 133 notes
East Antarctica Is Sliding Sideways: Ice Loss On West Antarctica Affecting Mantle Flow Below
It’s official: East Antarctica is pushing West Antarctica around.
Now that West Antarctica is losing weight—that is, billions of tons of ice per year—its softer mantle rock is being nudged westward by the harder mantle beneath East Antarctica.
The discovery comes from researchers led by The Ohio State University, who have recorded GPS measurements that show West Antarctic bedrock is being pushed sideways at rates up to about twelve millimeters—about half an inch—per year. This movement is important for understanding current ice loss on the continent, and predicting future ice loss.
They reported the results on Thursday, Dec. 12 at the American Geophysical Union meeting in San Francisco.
Half an inch doesn’t sound like a lot, but it’s actually quite dramatic compared to other areas of the planet, explained Terry Wilson, professor of earth sciences at Ohio State. Wilson leads POLENET, an international collaboration that has planted GPS and seismic sensors all over the West Antarctic Ice Sheet.
11:13 pm • 16 December 2013 • 88 notes
poster by molly and jordan
10:56 pm • 16 December 2013 • 39 notes
Sotheby's Set to Auction Buffalo Robe Taken from Murdered Cheyenne Women & Children
On December 4, 2013, Sotheby’s (NYC) plans to auction a Buffalo Robe that was taken from Cheyennes who were brutally murdered and had to flee without food or proper clothing in the middle of the winter. The Buffalo Robe, the Northern Cheyenne Cultural Commission and Northern Cheyenne Tribe asserts, is cultural patrimony, and the item should be taken off of auction. As Christie’s states in its description of the Buffalo Robe a few years ago, the Buffalo Robe was taken as “booty” during an 1876 campaign in the Powder River Basin in present-day Montana.
Sadly, this concept of spoils of war is not new in the art world—that is, to sell the clothes and items off of men, women, and children brutally murdered. This practice, in fact, was tolerated until recently among auction houses and the private art market in the case of items stolen by German Nazis who forced Jewish families from their homes to flee for safety in other parts of the world or horrifically murdered them in gas chambers or otherwise in the 1930s and 1940s.
The horror of these acts—in both the Northern Cheyenne experience and the Jewish experience—cannot be erased by time, as they are things that are felt on a daily basis among their communities, within their families, and by their peoples. While “time” will never erase such an act, the art world and Sotheby’s can act to remove such items from auction and assist Native communities with their return.
5:19 pm • 4 December 2013 • 152 notes