more beauty from
via owl foreigner
(via luxembourg)
Maybe this is Delaware’s or ShopRite’s version of Cowparade.
Dela-weird!
I’m not really sure why this exists, but in front of a couple of ShopRites (which are grocery stores), there are these painted dinosaur things. The one in my town has food painted all over it, but the one in a neighboring town, has actors from Delaware painted on it. Ryan Phillippe got the biggest and most visible spot. Seriously, this is the strangest thing. I’m going to put some more pics in the next post.
AKAI ad 1970s
David Park (USA, 1911-1960), “The Jazz Musicians,” 1954. Oil on masonite board 35 1/2 x 45 1/4 inches. Cantor Arts Center, Gift of Peter and Kirsten Bedford. (Detail)
STANFORD, CA.- The Cantor Arts Center at Stanford University announces “Pop to Present,” March 18-August 16, 2009, the third in a yearlong series of exhibitions highlighting the museum’s acquisitions from the past decade.
i have this dream of one day renting a studio apartment, laying out canvases and painting like this, cigarette in mouth and floor littered with empty wine bottles. i am deeply in love with pollock—and ive heard all of the arguments as to why people hate him, so spare me. i love that he simplified painting to pure action, removing nature from it all together to abstraction in its simplest form, denying the possibility of the accident. and more than all that garbage, it looks like fun.
This blog is top-notch, and not just if you love New York - although this blog just might make you do that.
The fascinating blog of a film location scout in New York City. What a great gig.This isn’t healthy for my NewYorkophilia.
lost in reminiscence … (via shashamane)
communication …
via shashamane
for a magical day
via shashamane
(via stewardesses)
Allen Ginsberg by William S. Burroughs.
(via diamonds-n-rubies)
she arrived in a taxi
completely intoxicated.
it was
after one of my long days as
a May Co. stock boy
and I sat there
exhausted and
sucking at
my beer and
looking at her
in her rumpled state
spread across the bed
skirt hiked high.I sucked at my drink
then walked over
to the bed and lifted
her skirt higher:
such a sight
those glorious legs
uncovered and helpless.she was a great woman with
great legs.we had such tremendous fun
and much agony together
for some yearsbut she found
life too hard;
she died
34 years ago andI haven’t seen
legs like that
since
and I have
never stoppedlooking.
0300 (via Eduardo Omine)
![travellinglight:
Wallace Berman (February 18, 1926 -February 18, 1976) was an American West Coast visual /assemblage artist.
Berman was born in Staten Island, New York and moved with his family to Los Angeles, California in 1930. He was expelled from high school for gambling, and became involved in the world of jazz. He enrolled in and attended the Jepson Art School and Chouinard but did not complete studies there. Instead of pursuing a formal art ‘career’ he worked in a factory finishing antique furniture. This work gave him the opportunity to salvage reject materials and scraps which he used to make sculptures. He began a mail art publication called SEMINA The format was a letterpress text printed on an assemblage of colored paper, photos, and essentially found material. Contributors included John Altoon, Antonin Artaud, Charles Brittin, Charles Bukowski, William S. Burroughs, Jean Cocteau, Allen Ginsberg, Marion Grogan, Walter Hopps, Larry Jordan, Philip Lamantia, Michael McClure, David Meltzer, Stuart Perkoff, and John Weiners.
He exhibited pieces in the Ferus Gallery in 1957, became part of the beat communities in Los Angeles and in San Francisco, and started the Semina Art Gallery in Larkspur, CA in 1960. He made his first and only film, Aleph, from 1956-1966. Berman did not give the film a title, referring to it just as ‘my film’ or ‘my movie’ and never showed it to large audiences, preferring to screen it on his studio wall on a one-to-one basis. The title Aleph was given to the work by Berman’s son, Tosh, after the artist’s death.[1]
He used verifax collages in his work, allowing for creation of serial and multiple images. From artist Ed Ruscha: “There were a lot of artists then that were doing serial imagery in that way, including Llyn Foulkes and Andy Warhol himself, of course, who really popularized it. I had done some things like that. It came about at a time where it had completely reached its time. It was inevitable, It’s like a genealogy. I think it was about Wally- and even Andy of course, who came out of the commercial world - seeing not paintings in museums but more popular imagery.” This development in the art world seems directly related to the growth of mass production, consumption, and mass disposal that the US embraced in the 1950s. (Source: Wikipedia)](http://5.media.tumblr.com/S8TDvkP09hy5knh0See18v2Do1_250.jpg)
![travellinglight:
Wallace Berman (February 18, 1926 -February 18, 1976) was an American West Coast visual /assemblage artist.
Berman was born in Staten Island, New York and moved with his family to Los Angeles, California in 1930. He was expelled from high school for gambling, and became involved in the world of jazz. He enrolled in and attended the Jepson Art School and Chouinard but did not complete studies there. Instead of pursuing a formal art ‘career’ he worked in a factory finishing antique furniture. This work gave him the opportunity to salvage reject materials and scraps which he used to make sculptures. He began a mail art publication called SEMINA The format was a letterpress text printed on an assemblage of colored paper, photos, and essentially found material. Contributors included John Altoon, Antonin Artaud, Charles Brittin, Charles Bukowski, William S. Burroughs, Jean Cocteau, Allen Ginsberg, Marion Grogan, Walter Hopps, Larry Jordan, Philip Lamantia, Michael McClure, David Meltzer, Stuart Perkoff, and John Weiners.
He exhibited pieces in the Ferus Gallery in 1957, became part of the beat communities in Los Angeles and in San Francisco, and started the Semina Art Gallery in Larkspur, CA in 1960. He made his first and only film, Aleph, from 1956-1966. Berman did not give the film a title, referring to it just as ‘my film’ or ‘my movie’ and never showed it to large audiences, preferring to screen it on his studio wall on a one-to-one basis. The title Aleph was given to the work by Berman’s son, Tosh, after the artist’s death.[1]
He used verifax collages in his work, allowing for creation of serial and multiple images. From artist Ed Ruscha: “There were a lot of artists then that were doing serial imagery in that way, including Llyn Foulkes and Andy Warhol himself, of course, who really popularized it. I had done some things like that. It came about at a time where it had completely reached its time. It was inevitable, It’s like a genealogy. I think it was about Wally- and even Andy of course, who came out of the commercial world - seeing not paintings in museums but more popular imagery.” This development in the art world seems directly related to the growth of mass production, consumption, and mass disposal that the US embraced in the 1950s. (Source: Wikipedia)](http://20.media.tumblr.com/S8TDvkP09hy5knh0See18v2Do1_500.jpg)
Wallace Berman (February 18, 1926 -February 18, 1976) was an American West Coast visual /assemblage artist.
Berman was born in Staten Island, New York and moved with his family to Los Angeles, California in 1930. He was expelled from high school for gambling, and became involved in the world of jazz. He enrolled in and attended the Jepson Art School and Chouinard but did not complete studies there. Instead of pursuing a formal art ‘career’ he worked in a factory finishing antique furniture. This work gave him the opportunity to salvage reject materials and scraps which he used to make sculptures. He began a mail art publication called SEMINA The format was a letterpress text printed on an assemblage of colored paper, photos, and essentially found material. Contributors included John Altoon, Antonin Artaud, Charles Brittin, Charles Bukowski, William S. Burroughs, Jean Cocteau, Allen Ginsberg, Marion Grogan, Walter Hopps, Larry Jordan, Philip Lamantia, Michael McClure, David Meltzer, Stuart Perkoff, and John Weiners.
He exhibited pieces in the Ferus Gallery in 1957, became part of the beat communities in Los Angeles and in San Francisco, and started the Semina Art Gallery in Larkspur, CA in 1960. He made his first and only film, Aleph, from 1956-1966. Berman did not give the film a title, referring to it just as ‘my film’ or ‘my movie’ and never showed it to large audiences, preferring to screen it on his studio wall on a one-to-one basis. The title Aleph was given to the work by Berman’s son, Tosh, after the artist’s death.[1]
He used verifax collages in his work, allowing for creation of serial and multiple images. From artist Ed Ruscha: “There were a lot of artists then that were doing serial imagery in that way, including Llyn Foulkes and Andy Warhol himself, of course, who really popularized it. I had done some things like that. It came about at a time where it had completely reached its time. It was inevitable, It’s like a genealogy. I think it was about Wally- and even Andy of course, who came out of the commercial world - seeing not paintings in museums but more popular imagery.” This development in the art world seems directly related to the growth of mass production, consumption, and mass disposal that the US embraced in the 1950s. (Source: Wikipedia)
