I Want Candy

Isabelle Chapuis, ‘Barbapapa’ series, 2012

Photographer Isabelle Chapuis originally created the ‘Barbapapa’ or ‘Candyfloss’ series featuring model Jonathan Dadoun for Bourse du Talent Mode.

The feelings that hurt the most, the emotions that sting most, are those that are absurd: the longing for impossible things, precisely because they are impossible; the nostalgia for what never was; the desire for what could have been; regret over not being someone else; dissatisfaction with the world’s existence.

-Fernando Pessoa

from The Book of Disquiet, translation by Richard Zenith

Magic Carpet Ride

Rudolf Stingel, Exhibition, Palazzo Grassi, 2013

The project, conceived by the artist expressly for Palazzo Grassi, spreads over all the rooms of the building, where a carpet with oriental patterns covers, for the first time, the entire surface of the walls and floors. The installation is part of Stingel’s artistic research, which has always been directed towards the analysis of the relationship between the exhibition space and artistic intervention: for the artist, the carpet is a medium through which painting relates to its architectural context. Interested in the redefinition of the meaning of “painting” and of its perception, Stingel places the “carpet” at the core of his poetics. It bears witness to the passage of time and people and is also a source of inspiration, with its variety of typologies and textures, for successive series of paintings. 

-Elena Guena in ‘Venice, The Moon and The Unconscious’

Be Running Up That Road

Kate Bush, ‘Running Up That Hill’, 1985

Angel Just Above The Grid

Perfume Genius, ‘I Decline’, 2014

Natural Occurence

Javier Riera, Projections & Photography, 2007-2013 

"The step, then, from painting to project and intervention in the landscape through geometrical shapes that alter our vision without leaving any trace on nature once the projector is switched off, opens painting up to another sphere of comprehension, affording it as a total experience: it summarizes aspects related to the processes. With the idea of a performance that is set within elements closer to the legacy of Land Art reread through landscape painting, from a certain meditative melancholy of Romanticism and from a calculated application of new technologies to the procedures of a pictorial viewpoint. 

-Santiago Olmo from ‘Necessary Displacements Or A Photographic Dematerialization of Painting’ on the work of Javier Riera.

Take A Seat, No. 5

Chairs & Forms, Matt Brady & Matt Olson, RO/LU Studio, 2010

Simple and sculptural chair and furniture forms made of plywood and OSB, these designs by RO/LU were inspired by 70s DIY books, the ideas proposed in Enzo Mari’s Autoprogettazione project, Judd, Rietveld, Burton and Schindler.

We have not long to love.
Light does not stay.
The tender things are those
we fold away.
Coarse fabrics are the ones
for common wear.
In silence I have watched you
comb your hair.
Intimate the silence,
dim and warm.
I could but did not, reach
to touch your arm.
I could, but do not, break
that which is still.
(Almost the faintest whisper
would be shrill.)
So moments pass as though
they wished to stay.
We have not long to love.
A night. A day….

-Tennessee Williams

'We Have Not Long To Love'

(via loverofbeauty)

Hope There’s Someone

Antony & The Johnsons, Live,  Malmö, 200

I Want To Thank You

Antony & The Johnsons, ‘Thank You For Your Love’, 2010

This official video for the LP release of ‘Swanlights’ is comprised of super 8 footage shot by Antony Hegarty when he moved to NYC in the 90s.


Debbie Fleming Caffery’s Portraits, 1984-2004

"Both Polly Joseph and Debbie Fleming Caffery are women of Southern Louisiana and together they formed an intimate, isolated bond initiated by photography and matured into an unlikely friendship. The details of Polly’s life, present, and past become a collection of fables. Caffery drank in the dust-filled air and the deep, articulated shadows that surrounded them. Caffery’s photographs transmit mystery and truth throughout the story, body and home of Polly. They are a collective portrait of unspeakable power.”

-Trudy Wilner Stack

23 September 2014

Ed Ruscha, “Fall All Leaves All Fall” (2009). Acrylic On paper
23 September 2014

Ed Ruscha, “Fall All Leaves All Fall” (2009). Acrylic On paper


23 September 2014

Ed Ruscha, “Fall All Leaves All Fall” (2009). Acrylic On paper


When The Good Ones Come

Sally Mann on Photography, Portraiture, Transgression & Transcendence

"And then out of nowhere, a miracle, a good new picture at last. Relief and a benediction and-not insignificantly- reassurance, for me that is. Nobody else sees it as the landmark it is, nobody knows the depths this one picture dispels because I honestly didn’t know this picture was out there."

Read the full transcript after the jump.

Read More

The Two Virginias

Sally Mann On Virginia Carter & Virginia Mann

Art21 talks with photographer Sally Mann about two of her most beloved subjects on the occasion of her forthcoming memoir, Hold Still.

"…the clearly communicated eloquence she derives from her subjects…subjects observed with an ardor that is all but indistinguishable from love."

-Reynolds Price