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»too small to be great art« by anatol knotek
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(via nucleardisaster)
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girlb0y:
Àngels Ribé
Six Possibilities of Occupying a Given Space, 1975.(Source: nicoonmars, via woluf)
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Rowena Xi Kang in “Seethe” by Bonnie Hansen for Institute Magazine
See more from this set here.
(via vandevorst)
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Daft Punk circa 1994
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1000reasonsnottostartmakingart:
Bruce Mau’s Incomplete Manifesto for Growth. Currently at 43. Very cool - I mean interesting.- Allow events to change you.
You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them. - Forget about good.
Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth. - Process is more important than outcome.
When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there. - Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day. - Go deep.
The deeper you go the more likely you will discover something of value. - Capture accidents.
The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions. - Study.
A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit. - Drift.
Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism. - Begin anywhere.
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere. - Everyone is a leader.
Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead. - Harvest ideas.
Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications. - Keep moving.
The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice. - Slow down.
Desynchronize from standard time frames and surprising opportunities may present themselves. - Don’t be cool.
Cool is conservative fear dressed in black. Free yourself from limits of this sort. - Ask stupid questions.
Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant. - Collaborate.
The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential. - ____________________.
Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others. - Stay up late.
Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world. - Work the metaphor.
Every object has the capacity to stand for something other than what is apparent. Work on what it stands for. - Be careful to take risks.
Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future. - Repeat yourself.
If you like it, do it again. If you don’t like it, do it again. - Make your own tools.
Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference. - Stand on someone’s shoulders.
You can travel farther carried on the accomplishments of those who came before you. And the view is so much better. - Avoid software.
The problem with software is that everyone has it. - Don’t clean your desk.
You might find something in the morning that you can’t see tonight. - Don’t enter awards competitions.
Just don’t. It’s not good for you. - Read only left-hand pages.
Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.” - Make new words.
Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions. - Think with your mind.
Forget technology. Creativity is not device-dependent. - Organization = Liberty.
Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between “creatives” and “suits” is what Leonard Cohen calls a ‘charming artifact of the past.’ - Don’t borrow money.
Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed. - Listen carefully.
Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same. - Take field trips.
The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment. - Make mistakes faster.
This isn’t my idea — I borrowed it. I think it belongs to Andy Grove. - Imitate.
Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique. - Scat.
When you forget the words, do what Ella did: make up something else … but not words. - Break it, stretch it, bend it, crush it, crack it, fold it.
- Explore the other edge.
Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential. - Coffee breaks, cab rides, green rooms.
Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference — the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations. - Avoid fields.
Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields. - Laugh.
People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves. - Remember.
Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself. - Power to the people.
Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.
Here it is again, the yearly reblog of the manifesto by Bruce Mau
(Source: o-oo-ooo-oo-o)
- Allow events to change you.
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Attention is what creates value. Artworks are made as well by how people interact with them — and therefore by what quality of interaction they can inspire. So how do we assess an artist who we suspect is dreadful but who manages to inspire the right storm of attention, and whose audience seems to swoon in the appropriate way? We say, ‘Well done.’
The question is: ‘Is the act of getting attention a sufficient act for an artist? Or is that in fact the job description?’
Perhaps the art of the future will be indistinguishable.
— Music legend Brian Eno, born on May 15, 1948, considers the essence and currencies of art. (via explore-blog)(Source: , via 1000reasonsnottostartmakingart)
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Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
(via muhuhu)
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next halloween.
(via frickyeah1990s)
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Fabienne Verdier: Flux
(via shinyslingback)
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A colour palette based on the only thing more beautiful and awe-inspiring than nature:
Steve Buscemi’s face.(idea
stolen frominspired by Landscape Palettes)(via breadcrumb-trail)
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(via muhuhu)
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If grandmothers around the world had a rallying cry, it would probably sound something like “You need to eat!”
Photographer Gabriele Galimberti’s grandmother said something similar to him before one of his many globetrotting work trips. To ensure he had at least one good meal, she prepared for him a dish of ravioli before he departed on one of his adventures.
“In that occasion I said to my grandma ‘You know, Grandma, there are many other grandmas around the world and most of them are really good cooks,” Galimberti wrote via email. “I’m going to meet them and ask them to cook for me so I can show you that you don’t have to be worried for me and the food that I will eat!’ This is the way my project was born!”
The project, “Delicatessen With Love”, took Galimberti to 58 countries where he photographed grandmothers with both the ingredients and finished signature dishes.
He acted as photographer and stylist during each shoot with the grandmothers, taking a portrait of both the women and the food they made for him.
From top to bottom:
Inara Runtule, 68, Kekava, Latvia. Silke (herring with potatoes and cottage cheese).
Grace Estibero, 82, Mumbai, India. Chicken vindaloo.
Susann Soresen, 81, Homer, Alaska. Moose steak.
Serette Charles, 63, Saint-Jean du Sud, Haiti. Lambi in creole sauce.
The photographer’s grandmother Marisa Batini, 80, Castiglion Fiorentino, Italy. Swiss chard and ricotta Ravioli with meat sauce.
Normita Sambu Arap, 65, Oltepessi (Masaai Mara), Kenya. Mboga and orgali (white corn polenta with vegetables and goat).
Julia Enaigua, 71, La Paz, Bolivia. Queso Humacha (vegetables and fresh cheese soup).
Fifi Makhmer, 62, Cairo, Egypt. Kuoshry (pasta, rice and legumes pie).
Isolina Perez De Vargas, 83, Mendoza, Argentina. Asado criollo (mixed meats barbecue).
Bisrat Melake, 60, Addis Ababa, Ethiopia. Enjera with curry and vegetables.
[ I was going to post a long rant about some arrogant yoga girl who insists people are ignorant for using olive oil to cook and should not eat fish or drink milk or eat cheese because of all sorts of problematic food issues, instead I said, let me focus on those who celebrate food. If you still want to see the link of the article she was waving on her Facebook, there you go. Privileged white people…ugh](via muhuhu)
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