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cavetocanvas:

Tom Wesselmann, Seascape Dropout, 1982
From the Tate Gallery:

 Wesselman’s interest in the interplay of positive and negative shapes dates from the collages he was making in the early 60s in which there was a specific aesthetic goal which Wesselman describes as follows:
The ideal was competition rather than harmony - all parts of the painting competed throughout the painting, in many ways, in order to generate excitement and demand attention. One of the main tools besides colour was the use of positive and negative shapes or space. This is why [my] earliest nudes are often very curvy - to set up a strong positive - negative relationship between the positive shape - the body - and adjacent negative areas, so that both the adjacent area and the nude could break free and advance. If all positive and negative areas became as strong as possible, there would be no negative areas: the image could become one strong positive shape. What counted was that one final shape.

cavetocanvas:

Tom Wesselmann, Seascape Dropout, 1982

From the Tate Gallery:

 Wesselman’s interest in the interplay of positive and negative shapes dates from the collages he was making in the early 60s in which there was a specific aesthetic goal which Wesselman describes as follows:

The ideal was competition rather than harmony - all parts of the painting competed throughout the painting, in many ways, in order to generate excitement and demand attention. One of the main tools besides colour was the use of positive and negative shapes or space. This is why [my] earliest nudes are often very curvy - to set up a strong positive - negative relationship between the positive shape - the body - and adjacent negative areas, so that both the adjacent area and the nude could break free and advance. If all positive and negative areas became as strong as possible, there would be no negative areas: the image could become one strong positive shape. What counted was that one final shape.

drawingdiary:

Ellsworth Kelly

drawingdiary:

Ellsworth Kelly

(via artspotting)

blindhandoffs:

Morgan Fisher, Color Balance, 1983, airbrush and ink on paper, 23 × 29 in.

blindhandoffs:

Morgan Fisher, Color Balance, 1983, airbrush and ink on paper, 23 × 29 in.

(via pharmaco)

レバレッジ・メモ: 人生を変えるためにやめるべきこと30個

myleverage:

  1. 自分にふさわしくない人たちと過ごすのをやめなさい。
  2. 自分の問題から逃げるのをやめなさい。
  3. 自分に嘘をつくのをやめなさい。
  4. 自分にとって大事な事を後回しにするのをやめなさい。
  5. 自分以外の誰かになろうとするのをやめなさい。
  6. 過去にしがみつくのをやめなさい。
  7. ミスをするのを恐れることをやめなさい。
  8. 過去の間違いについて自分を非難するのをやめなさい。
  9. 幸福をお金で手に入れようとするのをやめなさい。
  10. 自分が幸せになるためだけに誰かを求めるのをやめなさい。
  11. 意味もなく怠けるのをやめなさい。
  12. まだ準備ができていないと考えるのをやめなさい。

紋切り型に聞こえるけれど、いざ一つ一つを意識してみると、意外とやめるのは難しい。30個ちゃんとやめられたら、人生は本当に変わるかな。

cavetocanvas:

Joachim Patinir, St. Jerome in a Rocky Landscape, c. 1520

cavetocanvas:

Joachim Patinir, St. Jerome in a Rocky Landscape, c. 1520

artcollage:

Promenade by Susie MacMurray

Site specific installation at Kedleston Hall, Derbyshire, 19th July -30th September 2010.
105 miles of fine gold embroidery thread.

For more watch the video!

(via escapejournal)

artcollage:

Seat

Sitting is perhaps the most common condition from which we experience architecture. Whether we work, relax, watch, eat, sleep, or talk to each other we are sitting at the core of our relationship to buildings. Sitting structures inhabit our living spaces, determining the proportions of useable objects, forms, spaces, dimensions and relationships in an unfolding sequence of architectonic layers. The Design collaboration Eboarch by Yon Ju Lee and Brian Brush from New York created a playful object out of 400 simple wooden chairs, that deal with the question of how we see and experience the architectural world around us. The chairs are essentially connected to each other via simple lag bolts, clamps, and screws that are hidden from view. They are arrayed in a sine wave rising from the ground and celebrate the act of repose itself as a fundamental architectural event. It formalizes the transformation of chairs from useable objects into structural and spatial components of an ambiguously edifice.

via ignant

(via escapejournal)

cavetocanvas:

Tom Wesselmann, Seascape Dropout, 1982
From the Tate Gallery:

 Wesselman’s interest in the interplay of positive and negative shapes dates from the collages he was making in the early 60s in which there was a specific aesthetic goal which Wesselman describes as follows:
The ideal was competition rather than harmony - all parts of the painting competed throughout the painting, in many ways, in order to generate excitement and demand attention. One of the main tools besides colour was the use of positive and negative shapes or space. This is why [my] earliest nudes are often very curvy - to set up a strong positive - negative relationship between the positive shape - the body - and adjacent negative areas, so that both the adjacent area and the nude could break free and advance. If all positive and negative areas became as strong as possible, there would be no negative areas: the image could become one strong positive shape. What counted was that one final shape.

cavetocanvas:

Tom Wesselmann, Seascape Dropout, 1982

From the Tate Gallery:

 Wesselman’s interest in the interplay of positive and negative shapes dates from the collages he was making in the early 60s in which there was a specific aesthetic goal which Wesselman describes as follows:

The ideal was competition rather than harmony - all parts of the painting competed throughout the painting, in many ways, in order to generate excitement and demand attention. One of the main tools besides colour was the use of positive and negative shapes or space. This is why [my] earliest nudes are often very curvy - to set up a strong positive - negative relationship between the positive shape - the body - and adjacent negative areas, so that both the adjacent area and the nude could break free and advance. If all positive and negative areas became as strong as possible, there would be no negative areas: the image could become one strong positive shape. What counted was that one final shape.

stilllifequickheart:

Frederic Leighton
Study of Rhododendron
1850
地平線

地平線

(Source: ummhello)

drawingdiary:

Ellsworth Kelly

drawingdiary:

Ellsworth Kelly

(via artspotting)

blindhandoffs:

Morgan Fisher, Color Balance, 1983, airbrush and ink on paper, 23 × 29 in.

blindhandoffs:

Morgan Fisher, Color Balance, 1983, airbrush and ink on paper, 23 × 29 in.

(via pharmaco)

レバレッジ・メモ: 人生を変えるためにやめるべきこと30個

myleverage:

  1. 自分にふさわしくない人たちと過ごすのをやめなさい。
  2. 自分の問題から逃げるのをやめなさい。
  3. 自分に嘘をつくのをやめなさい。
  4. 自分にとって大事な事を後回しにするのをやめなさい。
  5. 自分以外の誰かになろうとするのをやめなさい。
  6. 過去にしがみつくのをやめなさい。
  7. ミスをするのを恐れることをやめなさい。
  8. 過去の間違いについて自分を非難するのをやめなさい。
  9. 幸福をお金で手に入れようとするのをやめなさい。
  10. 自分が幸せになるためだけに誰かを求めるのをやめなさい。
  11. 意味もなく怠けるのをやめなさい。
  12. まだ準備ができていないと考えるのをやめなさい。

紋切り型に聞こえるけれど、いざ一つ一つを意識してみると、意外とやめるのは難しい。30個ちゃんとやめられたら、人生は本当に変わるかな。

cavetocanvas:

Joachim Patinir, St. Jerome in a Rocky Landscape, c. 1520

cavetocanvas:

Joachim Patinir, St. Jerome in a Rocky Landscape, c. 1520

artcollage:

Promenade by Susie MacMurray

Site specific installation at Kedleston Hall, Derbyshire, 19th July -30th September 2010.
105 miles of fine gold embroidery thread.

For more watch the video!

(via escapejournal)

artcollage:

Seat

Sitting is perhaps the most common condition from which we experience architecture. Whether we work, relax, watch, eat, sleep, or talk to each other we are sitting at the core of our relationship to buildings. Sitting structures inhabit our living spaces, determining the proportions of useable objects, forms, spaces, dimensions and relationships in an unfolding sequence of architectonic layers. The Design collaboration Eboarch by Yon Ju Lee and Brian Brush from New York created a playful object out of 400 simple wooden chairs, that deal with the question of how we see and experience the architectural world around us. The chairs are essentially connected to each other via simple lag bolts, clamps, and screws that are hidden from view. They are arrayed in a sine wave rising from the ground and celebrate the act of repose itself as a fundamental architectural event. It formalizes the transformation of chairs from useable objects into structural and spatial components of an ambiguously edifice.

via ignant

(via escapejournal)

About:

Memos for my art study. Religious art, Art history, Contemporary art... etc