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Shutup!
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artspotting:

maddynorris:

Zbigniew Warpechowski, Drawing in the Corner, 1971

via
Turrell’s obsession with the crater is the stuff of legend, but he prefers not to analyze it. For a man driven by such a monomaniacal artistic impulse, he is startlingly uninterested in himself. Through dozens of conversations in multiple cities over perhaps a hundred hours, I found him willing to examine almost any idea, so long as it didn’t require any self-reflection. I would ask, for example, about his place in the art world, or his faith, or lack of it, or how he feels about the crater as he grows older and the forces of obsession and mortality collide — and each time he would nod and frown and say something like, “Well, you know, you just have to accept things as they are.” Then he would launch into a 30-minute dissertation on the geometry of sailboats.”
“For The Flesh and the Book, the performers held a string (thick black rubber band) between them.  The strings were at least 3 meters away from each other. I really wanted to expand the idea of transforming 3-dimensional space into a 2-dimensional tableau look. So that a viewer can only feel the space by following the dancers’ movements very carefully and watching the body scale change. The Flesh and the Book is a special work which is leading my interest into working in 3-dimensional space. I think I can say, the lines between performers sort of played the role of a tableau – an invisible and flexible tableau.”- Jaye Rhee
I agree with 2: 50 Under 50: The Next Most Collectible Artists, Part 1 | BLOUIN ARTINFO
kadist:

John Baldessari, Throwing Balls in the Air to get an Equilateral Triangle (Best of Thirty-Six Tries), 1972
creativetime:

We just found out that Julian Schnabel is opening the ground floor of his West Village home to the public as an exhibition space! The first show at Casa del Popolo is of new paintings by Nick Mead and will run from June 18 to July 31. 
"British artist Phil Thompson took a page — or screenshot — from Google Art Project, which allows art fans views of prized paintings at museums from around the world."
Google Art Project inspires British artist’s blurry art series
Nate Fors
Tomorry Dodge, Mumble Core, 2012 oil on canvas 72 x 120 inches