ikilledjackjohnson:

 Cezary Bodzianowski, Giro d’Italia (2007)

(Source: yimmyayo)

efedra:

Charles Ray - Plank Piece I-II, 1973

“This work was an investigation of the plane that simultaneously divides and supports the body. Thinking of sculpture as an activity rather than an object, Ray inserted his body into a simple equation of support, aligning the joints separating his pelvis from his torso, and his calves from his thighs, with the angle of connection between the wall and a plank laid against it.”
— Amelia Jones

(via funeral-wreaths)

iheartmyart:

David Letellier, Tessel, 2010, installation, 400x200x300cm, kinetic sculpture installation

wearenapoleon:

works by marie lund. 

(Source: curated-by, via blacktoppp)

(Source: r-e-l-i-c)

nycartscene:

Opens Thurs, May 17, 6-8p:

”Here Comes Sunshine”
 Wes Lang

Half Gallery, 208 Forsyth St., NYC

Lang extrapolates from a diverse range of tributaries: tattoo flash, memento mori, Cholo signifiers, Basquiat’s oil stick, Mike Kelley’s 13 Seasons, Tao Te Ching. Competing influences here occasionally result in contradictory statements, a sort of paradoxical jamboree, where death is embraced - not as a hard stop - but as an eternal companion. - thru June 22

nycartscene:

Opens Wed, May 16, 5-8p:

”Enshrouded”
 Lin Yan

Cheryl McGinnis Gallery, 466 Washington St., NYC

Without use of a brush, Yan’s rich palette of natural and ink-soaked Xuan paper fibers are cast and layered into minimalist reliefs of architectural elements from her surroundings and, most recently, from Chinese folk imagery. Simultaneously abstract and figurative, these tactile fragments of everyday life flow with emotional organic compositions that counter the geometric structures usually associated with buildings as she reflects the continuing struggle between nature and global industrialism. - thru June 16

cavetocanvas:

Joseph Beuys, Lightning with Stag in Its Glare, 1958-85

From the Guggenheim:

One of Joseph Beuys’s most theatrical installations, Lightning with Stag in Its Glare (Blitzschlag mit Lichtschein auf Hirsch) (1958–85) articulates the German artist’s obsession with primal and elemental forces: the earth, animals, excrement, and death. The arrangement of elements in this mysterious grouping suggests a natural site, like a forest clearing in which the stag (represented by an ironing board resting on wooden “legs”), the excremental forms of the “primordial animals” (actually made by plunging tools into piles of clay), and a goat (the hapless three-wheeled cart) are illuminated by a powerful lightning bolt (the weighty triangular form that hangs precariously from a beam). The artist is the human witness to this mythic, symbolic narrative (dominated, as always in Beuys’s work, by animals), appearing obliquely in the form of the cast block of earth atop an old sculptor’s modeling base. Completed in 1985 (the year of the artist’s death), this important work was acquired by the Guggenheim Museum Bilbao in 2001 and re-presented in a new installation in February 2002.