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Felipe V de España, Hyacinthe Rigaud, 1701
boyhood:

Carvings (left to right)
Tenoned head, possibly representing a rabbit or snake. Shown in profile; thin, with both faces carved in low relief. With small perforation for additional attachment.
Ceremonial carved object; whitish stone (probably limestone); thin, profile human face of type known as a “hacha”; low relief carving on both faces; slightly weathered. Some black inclusions in stone. Convex nose; deeply incised eye, scroll at corner of upper lip, plain headdress, large ornament in place of ear; no suspension hole.
Ceremonial baton carved in form of death’s head. Flat with neck as a tenon. Stone with traces of red paint.
Central America
Penn Museum
boyhood:

Marion Mahony Griffin (American, 1871-1961), Eucaliptus Urnigera.Tasmania. Scarlet Bark. Sunset, 1919. Ink-on-silk drawing.
via http://wirednewyork.com
http://www.essential-architecture.com/ARCHITECT/ARCH-griffin2.htm(via yama-bato)
boyhood:

Anna May Wong Cigarette Card
magictransistor:

Falnama Book of Omens. Hell. Safavid, Iran. 1550s.
boyhood:

Erdem​ SS15
metalonmetalblog:

Albert Aublet (1851-1938)
artemisdreaming:

artemisdreaming:
Chained Women
Hayv Kahraman

"Hayv Kahraman (born 1981) is an Iraqi artist and painter. Her works reflect the controversial issues of gender, honor killings and war, all issues that plague her home country of Iraq. Hayv currently lives and works in Phoenix, AZ"
artvevo:

Julian Hooper 
bittercagliostro:

CasaCagliostro.  Ginostra.  2005.
"Because it is possible to create…one has anxiety. One would have no anxiety if there were no possibility whatever. Creating, actualizing one’s possibilities…always involves destroying the status quo, destroying old patterns within oneself. Progressively destroying what one has clung to from childhood on, and creating new and original forms and ways of living. If one does not do this, one is refusing to grow, refusing to avail himself of his possibilities; one is shirking his responsibility to himself."

— Soren Kierkegaard

(Source: inthenoosphere)

lehroi:

Essam Marouf
Alain Badiou, “Fifteen Theses on Contemporary Art”

1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. It is the production of an infinite subjective series through the finite means of a material subtraction.

2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.

3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible as sensible. This means: the transformation of the sensible into a happening of the Idea.

4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalizing this plurality.

5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of a particular artistic truth and of its exhaustion.

6. The subject of an artistic truth is the set of the works which compose it.

7. This composition is an infinite configuration, which, in our own contemporary artistic context, is a generic totality.

8. The real of art is ideal impurity conceived through the immanent process of its purification. In other words, the raw material of art is determined by the contingent inception of a form. Art is the secondary formalization of the advent of a hitherto formless form.

9. The only maxim of contemporary art is not to be imperial. This also means: it does not have to be democratic, if democracy implies conformity with the imperial idea of political liberty.

10. Non-imperial art is necessarily abstract art, in this sense : it abstracts itself from all particularity, and formalizes this gesture of abstraction.

11. The abstraction of non-imperial art is not concerned with any particular public or audience. Non-imperial art is related to a kind of aristocratic-proletarian ethic: Alone, it does what it says, without distinguishing between kinds of people.

12. Non-imperial art must be as rigorous as a mathematical demonstration, as surprising as an ambush in the night, and as elevated as a star.

13. Today art can only be made from the starting point of that which, as far as Empire is concerned, doesn’t exist. Through its abstraction, art renders this inexistence visible. This is what governs the formal principle of every art: the effort to render visible to everyone that which for Empire (and so by extension for everyone, though from a different point of view), doesn’t exist.

14. Since it is sure of its ability to control the entire domain of the visible and the audible via the laws governing commercial circulation and democratic communication, Empire no longer censures anything. All art, and all thought, is ruined when we accept this permission to consume, to communicate and to enjoy. We should become the pitiless censors of ourselves.

15. It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire already recognizes as existent.