Newer posts are loading.
You are at the newest post.
Click here to check if anything new just came in.

April 08 2014

05:47

June 14 2013

MerelyGifted
02:42
1890 7bf1 500
Rene Magritte
Reposted fromowlmarcia owlmarcia viaunco unco

March 08 2013

09:14
6643 cf0c 500

Joan Miró - Nocturne
  Via Joan Miró

09:04
08:53
6648 5151 500

Joan Miró “Carnival of Harlequin” Print - 1924-1925

  Via Joan Miró Art - Artwork of Joan Miró

January 06 2013

MerelyGifted
07:30
“It is not necessary for the public to know whether I am joking or whether I am serious, just as it is not necessary for me to know it myself.”
Reposted fromidzsobie idzsobie viasiriusminerva siriusminerva

December 13 2012

22:10
2068 a212 500

“With his Fountain (1917), Duchamp made the quintessential statement about the history and future of art. Duchamp of course knew the history of art and, given recent trends, where art was going. He knew what had been achieved — how over the centuries art had been a powerful vehicle that called upon the highest development of the human creative vision and demanded exacting technical skill; and he knew that art had an awesome power to exalt the senses, the minds, and the passions of those who experience it. With his urinal, Duchamp offered presciently a summary statement. The artist is not a great creator — Duchamp went shopping at a plumbing store. The artwork is not a special object — it was mass-produced in a factory. The experience of art is not exciting and ennobling — it is puzzling and leaves one with a sense of distaste. But over and above that, Duchamp did not select just any ready-made object to display. He could have selected a sink or a door-knob. In selecting the urinal, his message was clear: Art is something you piss on.”

[Excerpt from Why Art became Ugly (2004).]

(via Stephen Hicks, Ph.D. » Marcel Duchamp, Fountain (1917))

Reposted bygehirnfasching gehirnfasching

December 11 2012

01:00
8277 8a3a 500

Wild-eyed antics of Dalí (left) and fellow surrealist artist Man Ray in Paris on June 16, 1934.

Via wikipedja

Reposted bySyvesiriusminervaGabreiilaartofbeing

December 10 2012

MerelyGifted
09:32

December 06 2012

MerelyGifted
01:43

November 11 2012

19:17
4517 1080

Erik Satie’s A Day in the Life of a Musician:

Here is the exact timetable of my daily activities.

Get up: 7:18 am; be inspired 10:23 to 11:47 am.

Take lunch: 12:11 pm; leave table at 12:14 pm.

Healthy horse-riding out in the grounds: 1:19 to 2:53 pm

More inspiration: 3:12 to 4:07 pm.

Various activities (fencing, reflection, immobility, visits, contemplation, swimming etc.): 4:21 to 6:47 pm.

Dinner is served at 7:16 and ends at 7:20 pm

Then come symphonic readings out loud 8:09 to 9:49 pm.

I go to bed regularly at 10:37 pm. Once a week on Tuesdays I wake with a start at 3:19 am

I can only eat white foods: eggs, sugar, scraped bones, fat from dead animals, veal, salt, coconuts, chicken cooked in white water, rice, turnips, things like pasta, white cheese, cotton salad and certain fish.

I boil my wine and drink it cold mixed with fuchsia juice. I have a good appetite, but never talk while eating, for fear of strangling myself.

I breathe carefully a little at a time.

My sleep is deep but I keep one eye open. My bed is round with a hole cut out to let my head through. Once every hour a servant takes my temperature.

I have long subscribed to a fashion magazine. I wear a white bonnet, white stockings and a white waistcoat.

My doctor has always told me to smoke. Part of his advice runs “Smoke away, my dear chap. If you don’t someone else will.”

- Erik Satie

If only that kind of routine would work for me…

The poster of Erik Satie was made by The Keep Calm-O-Matic. ...

Via my BF & Dangerous Minds | Erik Satie: A Day in the Life of a Musician

November 10 2012

22:28
4529 5d2e 500

oxane:

Chapter and Verse by Randy Mora

New illustration for The CMA www.the-cma.com/
The article is about the strong and valuable relationship between brands and stories. The inspiration for the piece comes from the famous book by Joseph Campbell “The Hero with a Thousand Faces” and his description of “The Hero’s Journey”, a basic pattern found in most narrative structures.

September 19 2012

MerelyGifted
07:44
MerelyGifted
07:06

Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection



...  United in their frustration and disillusionment with the war and their disgust with the culture that allowed it, the Dadaists felt that only insurrection and protest could fully express their rage.  "The beginnings of Dada," Tristan Tzara remarked, "were not the beginnings of art, but of disgust."  As Marcel Janco recalled: "We had lost confidence in our culture.  Everything had to be demolished.  We would begin again after the tabula rasa.  At the Cabaret Voltaire we began by shocking the bourgeois, demolishing his idea of art, attacking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order."   Through uproarious evenings filled with noise-music, abstract-poetry readings, and other performances, Dada began to voice its aggressive message.  While Dada evenings soon became notorious for insurrection and powerful assaults on art and bourgeois culture, it was through Dada journals that the news of this developing movement reached all corners of Europe and even the United States.  ...
MerelyGifted
07:02

Mark Harden's Artchive: "Dada and Surrealism"



...Dada began as an anti-art movement or, at least, a movement against the way art was appreciated by what considered itself the civilized world; Surrealism was much more than an art movement and it thrust home Dada's subversive attack on rational and 'civilized' standards. Whether people are aware of it or not, the Dada and Surrealist revolt has helped to change modern consciousness.

Dada had no formal aesthetic, virtually disregarding easel painting, but the Dadaists shared a nihilistic ethic. The word 'Dada', ambiguously denoting both 'hobby horse' and 'father', was arrived at by chance and gained immediate acceptance by its suitably childish and nonsensical ring. An international movement originating in Zurich and New York at the height of the First World War, it quickly spread to Berlin, Cologne, Hanover, Paris and, to some extent, Russia.

This revolt was against the senseless barbarities of war. It pinpointed the hypocrisy of those who felt that art created spiritual values. Civilization - despite Christianity, despite museums - had indeed broken down when thousands of grown men shelled each other day after day, from muddy trenches. It was no use for the person 'of sensibility', one of Dada's early targets, to take refuge in beauty.

The first step was to make negative gestures; to attack the icons of the old culture. It was in this iconoclastic spirit that in 1917 Marcel Duchamp put a moustache and beard in black crayon on a colored reproduction of Leonardo da Vinci's Mona Lisa (c 1502).  ...

May 14 2012

05:21

March 26 2012

MerelyGifted
07:08
Older posts are this way If this message doesn't go away, click anywhere on the page to continue loading posts.
Could not load more posts
Maybe Soup is currently being updated? I'll try again automatically in a few seconds...
Just a second, loading more posts...
You've reached the end.

Don't be the product, buy the product!

Schweinderl