for the benefit of the kids!
i am speaking tomorrow at whitney bradshaw's and gen gest's 'contemporary thought' class at columbia college. i though i'd make a nice post of things that influence me, blog it, and switch between showing images and the blog post of influences. here goes:
check out:
rachelmason.com
harrelfletcher.com
http://schmid.wordpress.com/
gerhard richter - above and below
maurizio cattelan - above
above
Damien Hirst
The Physical Impossibility of Death in the Mind of Someone Living
1991
Tiger shark, glass, steel, 5% formaldehyde solution
213 x 518 x 213 cm
Charles Saatchi
Edward Ruscha envisions the destruction of a prominent museum in his fatalistic painting The Los Angeles County Museum on Fire. On the occasion of this painting's first exhibition, at the Irving Blum Gallery in Los Angeles in 1968, Ruscha announced via telegram that the fire marshal would be on hand to see "the most controversial painting to be shown in Los Angeles in our time." The painting was exhibited behind a velvet rope, as if to hold back an angry crowd. Perhaps a response to the unpopular and unfriendly building designed in 1964 by William Pereira, the painting also spoke to an uproarious period in which artists felt increasingly alienated from cultural institutions.
ed ruscha below
check out:
rachelmason.com
harrelfletcher.com
http://schmid.wordpress.com/
gerhard richter - above and below
maurizio cattelan - above
above
Damien Hirst
The Physical Impossibility of Death in the Mind of Someone Living
1991
Tiger shark, glass, steel, 5% formaldehyde solution
213 x 518 x 213 cm
Charles Saatchi
Edward Ruscha envisions the destruction of a prominent museum in his fatalistic painting The Los Angeles County Museum on Fire. On the occasion of this painting's first exhibition, at the Irving Blum Gallery in Los Angeles in 1968, Ruscha announced via telegram that the fire marshal would be on hand to see "the most controversial painting to be shown in Los Angeles in our time." The painting was exhibited behind a velvet rope, as if to hold back an angry crowd. Perhaps a response to the unpopular and unfriendly building designed in 1964 by William Pereira, the painting also spoke to an uproarious period in which artists felt increasingly alienated from cultural institutions.
ed ruscha below
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