jewseum:

Do you have photos that are too hard to keep?We will take them.
Since 2009, artist Jason Lazarus, has been collecting photographs that are too painful or irrelevant for their original owners to hang on to.
These photos become part of large art installations that are exhibited internationally, including a show at The Contemporary Jewish Museum. If you feel your photographs are too private to show in public, they can still be donated and they will only be exhibited face-down.
How you can participate:1) Submit photos through this Tumblr, then delete the originals2) Mail photos and photo objects to:Jason Lazarus, 1516 N. Kedzie Ave, #3, Chicago, IL 60651
We will be posting photos from the archive for the next few weeks.
jewseum:

Do you have photos that are too hard to keep?We will take them.
Since 2009, artist Jason Lazarus, has been collecting photographs that are too painful or irrelevant for their original owners to hang on to.
These photos become part of large art installations that are exhibited internationally, including a show at The Contemporary Jewish Museum. If you feel your photographs are too private to show in public, they can still be donated and they will only be exhibited face-down.
How you can participate:1) Submit photos through this Tumblr, then delete the originals2) Mail photos and photo objects to:Jason Lazarus, 1516 N. Kedzie Ave, #3, Chicago, IL 60651
We will be posting photos from the archive for the next few weeks.

jewseum:

Do you have photos that are too hard to keep?
We will take them.

Since 2009, artist Jason Lazarus, has been collecting photographs that are too painful or irrelevant for their original owners to hang on to.

These photos become part of large art installations that are exhibited internationally, including a show at The Contemporary Jewish Museum. If you feel your photographs are too private to show in public, they can still be donated and they will only be exhibited face-down.

How you can participate:
1) Submit photos through this Tumblr, then delete the originals
2) Mail photos and photo objects to:
Jason Lazarus, 1516 N. Kedzie Ave, #3, Chicago, IL 60651

We will be posting photos from the archive for the next few weeks.

(via phancey)



Paul Fryer
Lucifer (Morning star), 2008
Anodized aluminum, silicon rubber cord,
wax work figure, feathers, concrete



Paul Fryer
Lucifer (Morning star), 2008
Anodized aluminum, silicon rubber cord,
wax work figure, feathers, concrete



Paul Fryer
Lucifer (Morning star), 2008
Anodized aluminum, silicon rubber cord,
wax work figure, feathers, concrete



Paul Fryer
Lucifer (Morning star), 2008
Anodized aluminum, silicon rubber cord,
wax work figure, feathers, concrete


Paul Fryer

Lucifer (Morning star), 2008

Anodized aluminum, silicon rubber cord,

wax work figure, feathers, concrete

(via phancey)

myimaginarybrooklyn:

citizendev:
http://www.independent.co.uk/arts-entertainment/art/features/mummy-i-could-have-done-that—new-book-pokes-fun-at-modern-art-9112523.html
myimaginarybrooklyn:

citizendev:
http://www.independent.co.uk/arts-entertainment/art/features/mummy-i-could-have-done-that—new-book-pokes-fun-at-modern-art-9112523.html
myimaginarybrooklyn:

citizendev:
http://www.independent.co.uk/arts-entertainment/art/features/mummy-i-could-have-done-that—new-book-pokes-fun-at-modern-art-9112523.html
myimaginarybrooklyn:

citizendev:
http://www.independent.co.uk/arts-entertainment/art/features/mummy-i-could-have-done-that—new-book-pokes-fun-at-modern-art-9112523.html
myimaginarybrooklyn:

citizendev:
http://www.independent.co.uk/arts-entertainment/art/features/mummy-i-could-have-done-that—new-book-pokes-fun-at-modern-art-9112523.html
f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery 

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

f-l-e-u-r-d-e-l-y-s:

Playful Haunted House Art Gallery

Haunted Play House is Torafu Architects’ creative exhibit designed especially for children to touch art while frolicking in and around the space. Featured in one of the galleries at the Museum of Contemporary Art Tokyo, the architectural installation—a giant, white cube set in the center with paintings hanging on its exterior walls—is built like a gallery space with components that resemble quirky and spooky elements found in a haunted funhouse.

(via opentehpodbaydoorshal)

Tiara in three pieces in the form of branches of oak-leaves and acorns. Silver and gold, open-back, set with diamonds and convertible to a brooch or to use as comb-mounts. 

(via mrsbeefheart)


"Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, traditionally employed to represent femininity and applying it to the expression of it’s opposite, I hope to challenge the pre-conceived notion that ‘women’s work’ is light and easy. Aiming to represent the effects of hard work arising from employment in low paid ancillary jobs such as cleaning, caring, and catering, all traditionally considered to be ‘women’s work’"

Eliza Bennett
A woman’s work is never done
2011
Flesh, thread
http://elizabennett.co.uk/


"Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, traditionally employed to represent femininity and applying it to the expression of it’s opposite, I hope to challenge the pre-conceived notion that ‘women’s work’ is light and easy. Aiming to represent the effects of hard work arising from employment in low paid ancillary jobs such as cleaning, caring, and catering, all traditionally considered to be ‘women’s work’"

Eliza Bennett
A woman’s work is never done
2011
Flesh, thread
http://elizabennett.co.uk/

"Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, traditionally employed to represent femininity and applying it to the expression of it’s opposite, I hope to challenge the pre-conceived notion that ‘women’s work’ is light and easy. Aiming to represent the effects of hard work arising from employment in low paid ancillary jobs such as cleaning, caring, and catering, all traditionally considered to be ‘women’s work’"

Eliza Bennett

A woman’s work is never done

2011

Flesh, thread

http://elizabennett.co.uk/

(via mrsbeefheart)

pikeys:

Lucid Stead, 2013 by Phillip K. Smith III
“Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape.  Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience.  Like the enveloping vista that changes hue as time passes, Lucid Stead transforms.  In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.”
- Royale Projects | Video
pikeys:

Lucid Stead, 2013 by Phillip K. Smith III
“Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape.  Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience.  Like the enveloping vista that changes hue as time passes, Lucid Stead transforms.  In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.”
- Royale Projects | Video
pikeys:

Lucid Stead, 2013 by Phillip K. Smith III
“Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape.  Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience.  Like the enveloping vista that changes hue as time passes, Lucid Stead transforms.  In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.”
- Royale Projects | Video
pikeys:

Lucid Stead, 2013 by Phillip K. Smith III
“Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape.  Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience.  Like the enveloping vista that changes hue as time passes, Lucid Stead transforms.  In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.”
- Royale Projects | Video
pikeys:

Lucid Stead, 2013 by Phillip K. Smith III
“Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape.  Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience.  Like the enveloping vista that changes hue as time passes, Lucid Stead transforms.  In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.”
- Royale Projects | Video
pikeys:

Lucid Stead, 2013 by Phillip K. Smith III
“Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape.  Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience.  Like the enveloping vista that changes hue as time passes, Lucid Stead transforms.  In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.”
- Royale Projects | Video

pikeys:

Lucid Stead, 2013 by Phillip K. Smith III

Composed of mirror, LED lighting, custom built electronic equipment and Arduino programming amalgamated with a preexisting structure, this architectural intervention, at first, seems alien in context to the bleak landscape.  Upon further viewing, Lucid Stead imposes a delirious, almost spiritual experience.  Like the enveloping vista that changes hue as time passes, Lucid Stead transforms.  In daylight the 70 year old homesteader shack, that serves as the armature of the piece, reflects and refracts the surrounding terrain like a mirage or an hallucination. As the sun tucks behind the mountains, slowly shifting, geometric color fields emerge until they hover in the desolate darkness. This transformation also adapts personal perception, realigning one’s sensory priorities. A heightened awareness of solitude and the measured pace of the environment is realized.

- Royale Projects | Video

(via opentehpodbaydoorshal)

yoaguanto:

Jenny Holzer - SURVIVAL, 1983-1985 (exhibited as part of Creative Time’s 42nd Street Project 1993)
"Like the Jenny Holzer pieces, you’ve got a lot of people saying, ‘What the fuck is that? What the fuck is that supposed to mean?’ And it’s like, well, why are you angry about that and you’re not angry about anything else you see here? About drug dealing, about people with drugs, about homelessness, but you’re getting mad about this sign because people feel it doesn’t belong here. And they feel all the other stuff does." (Theatre Electrician) (x)
yoaguanto:

Jenny Holzer - SURVIVAL, 1983-1985 (exhibited as part of Creative Time’s 42nd Street Project 1993)
"Like the Jenny Holzer pieces, you’ve got a lot of people saying, ‘What the fuck is that? What the fuck is that supposed to mean?’ And it’s like, well, why are you angry about that and you’re not angry about anything else you see here? About drug dealing, about people with drugs, about homelessness, but you’re getting mad about this sign because people feel it doesn’t belong here. And they feel all the other stuff does." (Theatre Electrician) (x)
yoaguanto:

Jenny Holzer - SURVIVAL, 1983-1985 (exhibited as part of Creative Time’s 42nd Street Project 1993)
"Like the Jenny Holzer pieces, you’ve got a lot of people saying, ‘What the fuck is that? What the fuck is that supposed to mean?’ And it’s like, well, why are you angry about that and you’re not angry about anything else you see here? About drug dealing, about people with drugs, about homelessness, but you’re getting mad about this sign because people feel it doesn’t belong here. And they feel all the other stuff does." (Theatre Electrician) (x)
yoaguanto:

Jenny Holzer - SURVIVAL, 1983-1985 (exhibited as part of Creative Time’s 42nd Street Project 1993)
"Like the Jenny Holzer pieces, you’ve got a lot of people saying, ‘What the fuck is that? What the fuck is that supposed to mean?’ And it’s like, well, why are you angry about that and you’re not angry about anything else you see here? About drug dealing, about people with drugs, about homelessness, but you’re getting mad about this sign because people feel it doesn’t belong here. And they feel all the other stuff does." (Theatre Electrician) (x)
yoaguanto:

Jenny Holzer - SURVIVAL, 1983-1985 (exhibited as part of Creative Time’s 42nd Street Project 1993)
"Like the Jenny Holzer pieces, you’ve got a lot of people saying, ‘What the fuck is that? What the fuck is that supposed to mean?’ And it’s like, well, why are you angry about that and you’re not angry about anything else you see here? About drug dealing, about people with drugs, about homelessness, but you’re getting mad about this sign because people feel it doesn’t belong here. And they feel all the other stuff does." (Theatre Electrician) (x)
yoaguanto:

Jenny Holzer - SURVIVAL, 1983-1985 (exhibited as part of Creative Time’s 42nd Street Project 1993)
"Like the Jenny Holzer pieces, you’ve got a lot of people saying, ‘What the fuck is that? What the fuck is that supposed to mean?’ And it’s like, well, why are you angry about that and you’re not angry about anything else you see here? About drug dealing, about people with drugs, about homelessness, but you’re getting mad about this sign because people feel it doesn’t belong here. And they feel all the other stuff does." (Theatre Electrician) (x)

yoaguanto:

Jenny Holzer - SURVIVAL, 1983-1985 (exhibited as part of Creative Time’s 42nd Street Project 1993)

"Like the Jenny Holzer pieces, you’ve got a lot of people saying, ‘What the fuck is that? What the fuck is that supposed to mean?’ And it’s like, well, why are you angry about that and you’re not angry about anything else you see here? About drug dealing, about people with drugs, about homelessness, but you’re getting mad about this sign because people feel it doesn’t belong here. And they feel all the other stuff does." (Theatre Electrician) (x)

(via mrsbeefheart)

odysse-y:

nature/vintage/indie ♡

Despair. Mosaic in the Cornaro Chapel, 17th century.

(via busterkeatons)