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From Carrie Mae Weems’ “Fade to Black” series, 2010-2011.

(Source: reichsstadt, via teacakes)

moma:

Ray Johnson Designs, ending September 29, is “a must-see for all mail art fans” (Hyperallergic). 
[Ray Johnson. Promotional flyer (Strange Devices…). c. 1956-1960. The Museum of Modern Art Library, NY]

moma:

Ray Johnson Designs, ending September 29, is “a must-see for all mail art fans” (Hyperallergic). 

[Ray Johnson. Promotional flyer (Strange Devices…). c. 1956-1960. The Museum of Modern Art Library, NY]

the-drawing-center:

We are taking down our summer exhibits this week. #Repost from @clairesgilman —- Saying goodbye to Small @drawingcenter with @fireleibaez #small #drawingcenter #fireleibaez (at The Drawing Center)

the-drawing-center:

We are taking down our summer exhibits this week. #Repost from @clairesgilman —- Saying goodbye to Small @drawingcenter with @fireleibaez #small #drawingcenter #fireleibaez (at The Drawing Center)

whitneymuseum:

When the nearly ten-foot-wide Four Darks in Red (1958) is seen close up as Mark Rothko intended, viewers are engulfed in an atmosphere of color.

whitneymuseum:

When the nearly ten-foot-wide Four Darks in Red (1958) is seen close up as Mark Rothko intended, viewers are engulfed in an atmosphere of color.

pacegallery:

Pace London: “My work arrives somewhere between abstraction and figuration; the cuts and breaks in the image seem to have an independent life within each work. Not simply the happenstance of a meeting place, the gap or break is a type of functioning geometry, opening up spaces within and between imagery. My work is the result of a highly instinctual and visceral activity, without the guidance of a plan.” - Nathaniel Mary Quinn, July, 2014. 
An exhibition of new works by the Brooklyn-based artist, Nathaniel Mary Quinn, will open at Pace London on September 5. “Past/Present” will be located at 6-10 Lexington Street and continue through October 4. Pictured here is “Diane” (2014), which will be included in the show.  

pacegallery:

Pace London: “My work arrives somewhere between abstraction and figuration; the cuts and breaks in the image seem to have an independent life within each work. Not simply the happenstance of a meeting place, the gap or break is a type of functioning geometry, opening up spaces within and between imagery. My work is the result of a highly instinctual and visceral activity, without the guidance of a plan.” - Nathaniel Mary Quinn, July, 2014. 

An exhibition of new works by the Brooklyn-based artist, Nathaniel Mary Quinn, will open at Pace London on September 5. “Past/Present” will be located at 6-10 Lexington Street and continue through October 4. Pictured here is “Diane” (2014), which will be included in the show.  

poeticasvisuais:

Jean-Michel Basquiat
Mater, 1982
acrylic and oilstick on canvas, 72 x 84 in.

poeticasvisuais:

Jean-Michel Basquiat

Mater, 1982

acrylic and oilstick on canvas, 72 x 84 in.

(via banji-realness)

fitzplesures:

tierradentro:

Henri Matisse Cut-Outs at Tate Modern (by/via)

(via museoleum)

chaambler:

ROY LICHTENSTEIN Seascape (I), from New York Ten, 1964

chaambler:

ROY LICHTENSTEIN
Seascape (I), from New York Ten, 1964

(Source: charlieambler, via shotgun-season)

moma:

Final days! Sigmar Polke closes Sunday. “A distinctive force of talent and mind.” - The New Yorker. 
[Sigmar Polke. “Untitled (Rorschach) (Ohne Titel (Rorschach)).” c. 1999. Colored ink in bound notebook, 192 pages, each: 11 5⁄8 x 8 1⁄16″ (29.5 x 20.5 cm). Private Collection. Photo: Alistair Overbruck. © 2014 Estate of Sigmar Polke/ Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.]

moma:

Final days! Sigmar Polke closes Sunday. “A distinctive force of talent and mind.” - The New Yorker. 

[Sigmar Polke. “Untitled (Rorschach) (Ohne Titel (Rorschach)).” c. 1999. Colored ink in bound notebook, 192 pages, each: 11 5⁄8 x 8 1⁄16″ (29.5 x 20.5 cm). Private Collection. Photo: Alistair Overbruck. © 2014 Estate of Sigmar Polke/ Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.]

From Carrie Mae Weems’ “Fade to Black” series, 2010-2011.

(Source: reichsstadt, via teacakes)

copsarecomin:


Dan Flavin

copsarecomin:

Dan Flavin

(Source: mnmldrk)

moma:

Ray Johnson Designs, ending September 29, is “a must-see for all mail art fans” (Hyperallergic). 
[Ray Johnson. Promotional flyer (Strange Devices…). c. 1956-1960. The Museum of Modern Art Library, NY]

moma:

Ray Johnson Designs, ending September 29, is “a must-see for all mail art fans” (Hyperallergic). 

[Ray Johnson. Promotional flyer (Strange Devices…). c. 1956-1960. The Museum of Modern Art Library, NY]

the-drawing-center:

We are taking down our summer exhibits this week. #Repost from @clairesgilman —- Saying goodbye to Small @drawingcenter with @fireleibaez #small #drawingcenter #fireleibaez (at The Drawing Center)

the-drawing-center:

We are taking down our summer exhibits this week. #Repost from @clairesgilman —- Saying goodbye to Small @drawingcenter with @fireleibaez #small #drawingcenter #fireleibaez (at The Drawing Center)

whitneymuseum:

When the nearly ten-foot-wide Four Darks in Red (1958) is seen close up as Mark Rothko intended, viewers are engulfed in an atmosphere of color.

whitneymuseum:

When the nearly ten-foot-wide Four Darks in Red (1958) is seen close up as Mark Rothko intended, viewers are engulfed in an atmosphere of color.

pacegallery:

Pace London: “My work arrives somewhere between abstraction and figuration; the cuts and breaks in the image seem to have an independent life within each work. Not simply the happenstance of a meeting place, the gap or break is a type of functioning geometry, opening up spaces within and between imagery. My work is the result of a highly instinctual and visceral activity, without the guidance of a plan.” - Nathaniel Mary Quinn, July, 2014. 
An exhibition of new works by the Brooklyn-based artist, Nathaniel Mary Quinn, will open at Pace London on September 5. “Past/Present” will be located at 6-10 Lexington Street and continue through October 4. Pictured here is “Diane” (2014), which will be included in the show.  

pacegallery:

Pace London: “My work arrives somewhere between abstraction and figuration; the cuts and breaks in the image seem to have an independent life within each work. Not simply the happenstance of a meeting place, the gap or break is a type of functioning geometry, opening up spaces within and between imagery. My work is the result of a highly instinctual and visceral activity, without the guidance of a plan.” - Nathaniel Mary Quinn, July, 2014. 

An exhibition of new works by the Brooklyn-based artist, Nathaniel Mary Quinn, will open at Pace London on September 5. “Past/Present” will be located at 6-10 Lexington Street and continue through October 4. Pictured here is “Diane” (2014), which will be included in the show.  

poeticasvisuais:

Jean-Michel Basquiat
Mater, 1982
acrylic and oilstick on canvas, 72 x 84 in.

poeticasvisuais:

Jean-Michel Basquiat

Mater, 1982

acrylic and oilstick on canvas, 72 x 84 in.

(via banji-realness)

fitzplesures:

tierradentro:

Henri Matisse Cut-Outs at Tate Modern (by/via)

(via museoleum)

chaambler:

ROY LICHTENSTEIN Seascape (I), from New York Ten, 1964

chaambler:

ROY LICHTENSTEIN
Seascape (I), from New York Ten, 1964

(Source: charlieambler, via shotgun-season)

(via museoleum)

moma:

Final days! Sigmar Polke closes Sunday. “A distinctive force of talent and mind.” - The New Yorker. 
[Sigmar Polke. “Untitled (Rorschach) (Ohne Titel (Rorschach)).” c. 1999. Colored ink in bound notebook, 192 pages, each: 11 5⁄8 x 8 1⁄16″ (29.5 x 20.5 cm). Private Collection. Photo: Alistair Overbruck. © 2014 Estate of Sigmar Polke/ Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.]

moma:

Final days! Sigmar Polke closes Sunday. “A distinctive force of talent and mind.” - The New Yorker. 

[Sigmar Polke. “Untitled (Rorschach) (Ohne Titel (Rorschach)).” c. 1999. Colored ink in bound notebook, 192 pages, each: 11 5⁄8 x 8 1⁄16″ (29.5 x 20.5 cm). Private Collection. Photo: Alistair Overbruck. © 2014 Estate of Sigmar Polke/ Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.]

About:

"And the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them" - Frank O'Hara

The creative side of Wall Text.