Thinking images
Thinking images
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Black Square was first shown hung in the “holy place” traditionally reserved for religious icons in a Russian home. Eventually, Malevich’s belief in abstraction led to his work being banned by Stalinist Soviets. Not shown for generations, it persisted as the most famous Russian painting, and in 2002 was bought by the Russian state.
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Olga Niezvanova
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the-drawing-center:

The Pioneer Works Center for Art and Innovation is launching an exciting new drawing class with Ben Degen called Drawing as a Process for Visual Thinking. 
Drawing as a Process for Visual Thinking explores the process of drawing as a powerful dialectic tool that can be used to generate new ideas and navigate through subtle and complex concepts. The class will work on both collaborative drawing experiments and individual drawing investigations. Though exercises will be concerned with building drawing skills and proficiency, the main focus will be the goal of achieving individual clarity in our drawing process. We will investigate the practice of mark making as a means to engage in a dynamic dialogue with each other, with ourselves, and with the world around us. 
The class will consist of eight Saturday sessions (October 18 - December 13) from 12-4pm. You can register for this long-form class here or check out other classes offered by Pioneer Works here. 
Location: 159 Pioneer Street (between Imlay & Conover streets) in Red Hook, Brooklyn.
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Mladen StilinovicExploitation of the dead, 1984-1990
Malerier og malte objekter / Paintings and painted objects
Lån fra Moderna Museet, Stockholm / Loan from the Moderna Museet, Stockholm
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Mladen Stilinovic, artist at work, 1977

Readings for Artworkers 2014: on poverty of project-making

READING # 3: NEVER WORK! THE ART STRIKE AND REFUSAL OF LABOUR IN INDUSTRIES OF CREATIVITY. 
 
Time: 23rd of September 2014, 6 pm
Venue: Museum of Modern Art, Warsaw, Pańska 3
 
Discussion on manifestos of Goran Dordevic, Kazimir Malevich and Mladen Stilinovic and texts by Gerald Raunig and Stevphen Shukaities.


During the seminar, we will reflect upon art as a ‘praise of laziness’, artistic strike and refusal of labour in late capitalism. At the foundations of modern concept of art lies a conviction that making art is quintessentially different from alienated forms of labour. Art, in contrast to typical work, is a self-directed activity, which fulfils existential and creative impulses of artists.
 
READ MORE: +HERE 
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museumuesum:

Josip Vanista
Silver Line Text, 2009 (text from 1961)
acrylic on canvas, 140 x 180 cm
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museumuesum:

Glenn Ligon
Untitled (I’m Turning into a Specter before Your Very Eyes and I’m Going to Haunt You), 1992, Oil stick, gesso, and graphite on canvas, 80 1/8 x 32 1/8 x 2 in.
Prisoner of Love Edition 1, 1992, Oil and gesso on linen, 80 x 30 x 1 3/4 in.
Untitled (Passing), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Lost My Voice I Found My Voice), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (Wrong Nigga To Fuck With), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Remember the Very Day That I Became Colored), 1990, Oil stick, gesso, and graphite on wood, 80 × 30 in.
museumuesum:

Glenn Ligon
Untitled (I’m Turning into a Specter before Your Very Eyes and I’m Going to Haunt You), 1992, Oil stick, gesso, and graphite on canvas, 80 1/8 x 32 1/8 x 2 in.
Prisoner of Love Edition 1, 1992, Oil and gesso on linen, 80 x 30 x 1 3/4 in.
Untitled (Passing), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Lost My Voice I Found My Voice), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (Wrong Nigga To Fuck With), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Remember the Very Day That I Became Colored), 1990, Oil stick, gesso, and graphite on wood, 80 × 30 in.
museumuesum:

Glenn Ligon
Untitled (I’m Turning into a Specter before Your Very Eyes and I’m Going to Haunt You), 1992, Oil stick, gesso, and graphite on canvas, 80 1/8 x 32 1/8 x 2 in.
Prisoner of Love Edition 1, 1992, Oil and gesso on linen, 80 x 30 x 1 3/4 in.
Untitled (Passing), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Lost My Voice I Found My Voice), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (Wrong Nigga To Fuck With), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Remember the Very Day That I Became Colored), 1990, Oil stick, gesso, and graphite on wood, 80 × 30 in.
museumuesum:

Glenn Ligon
Untitled (I’m Turning into a Specter before Your Very Eyes and I’m Going to Haunt You), 1992, Oil stick, gesso, and graphite on canvas, 80 1/8 x 32 1/8 x 2 in.
Prisoner of Love Edition 1, 1992, Oil and gesso on linen, 80 x 30 x 1 3/4 in.
Untitled (Passing), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Lost My Voice I Found My Voice), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (Wrong Nigga To Fuck With), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Remember the Very Day That I Became Colored), 1990, Oil stick, gesso, and graphite on wood, 80 × 30 in.
museumuesum:

Glenn Ligon
Untitled (I’m Turning into a Specter before Your Very Eyes and I’m Going to Haunt You), 1992, Oil stick, gesso, and graphite on canvas, 80 1/8 x 32 1/8 x 2 in.
Prisoner of Love Edition 1, 1992, Oil and gesso on linen, 80 x 30 x 1 3/4 in.
Untitled (Passing), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Lost My Voice I Found My Voice), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (Wrong Nigga To Fuck With), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Remember the Very Day That I Became Colored), 1990, Oil stick, gesso, and graphite on wood, 80 × 30 in.
museumuesum:

Glenn Ligon
Untitled (I’m Turning into a Specter before Your Very Eyes and I’m Going to Haunt You), 1992, Oil stick, gesso, and graphite on canvas, 80 1/8 x 32 1/8 x 2 in.
Prisoner of Love Edition 1, 1992, Oil and gesso on linen, 80 x 30 x 1 3/4 in.
Untitled (Passing), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Lost My Voice I Found My Voice), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (Wrong Nigga To Fuck With), 1991, Oil stick, gesso and graphite on canvas, 80 x 30 in.
Untitled (I Remember the Very Day That I Became Colored), 1990, Oil stick, gesso, and graphite on wood, 80 × 30 in.
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Vera Lutter at Galerie Max Hetzler, Goethestr., Berlin, from June 14 to July 26, 2014
Vera Lutter’s fourth solo exhibition with Galerie Max Hetzler presents three of her latest work series. By using a camera obscura – a centuries-old technique that allows light falling through a tiny hole into a darkened room, projecting an upside-down, reverse image of the exterior world into the interior – she creates works which appear strangely alienated but familiar at the same time… read more: http://www.galleriesnow.net/shows/vera-lutter/


Vera Lutter at Galerie Max Hetzler, Goethestr., Berlin, from June 14 to July 26, 2014
Vera Lutter’s fourth solo exhibition with Galerie Max Hetzler presents three of her latest work series. By using a camera obscura – a centuries-old technique that allows light falling through a tiny hole into a darkened room, projecting an upside-down, reverse image of the exterior world into the interior – she creates works which appear strangely alienated but familiar at the same time… read more: http://www.galleriesnow.net/shows/vera-lutter/


Vera Lutter at Galerie Max Hetzler, Goethestr., Berlin, from June 14 to July 26, 2014
Vera Lutter’s fourth solo exhibition with Galerie Max Hetzler presents three of her latest work series. By using a camera obscura – a centuries-old technique that allows light falling through a tiny hole into a darkened room, projecting an upside-down, reverse image of the exterior world into the interior – she creates works which appear strangely alienated but familiar at the same time… read more: http://www.galleriesnow.net/shows/vera-lutter/


Vera Lutter at Galerie Max Hetzler, Goethestr., Berlin, from June 14 to July 26, 2014
Vera Lutter’s fourth solo exhibition with Galerie Max Hetzler presents three of her latest work series. By using a camera obscura – a centuries-old technique that allows light falling through a tiny hole into a darkened room, projecting an upside-down, reverse image of the exterior world into the interior – she creates works which appear strangely alienated but familiar at the same time… read more: http://www.galleriesnow.net/shows/vera-lutter/


Vera Lutter at Galerie Max Hetzler, Goethestr., Berlin, from June 14 to July 26, 2014
Vera Lutter’s fourth solo exhibition with Galerie Max Hetzler presents three of her latest work series. By using a camera obscura – a centuries-old technique that allows light falling through a tiny hole into a darkened room, projecting an upside-down, reverse image of the exterior world into the interior – she creates works which appear strangely alienated but familiar at the same time… read more: http://www.galleriesnow.net/shows/vera-lutter/
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cinoh:

Gerhard Richter
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cinoh:

graphandcompass: (via 12 Amazing Earth Scars (Pics) - News Doors)