What Is Contemporary Anyways.
Parissah Lin
Gallatin '15

Art of Now
What Is Contemporary Anyways.
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devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
devidsketchbook:

OMO VALLEY TRIBES IN SOUTH-WESTERN ETHIOPIA
Chile, San Pedro de Atacama-based freelance photographer Ralph Bennett Crignola - “The Lower Omo River in south west Ethiopia is home to eight different tribes whose population is about 200,000. They have lived there for centuries. However, the future of these tribes lies in the balance. A massive hydro-electric dam, Gibe III, is under construction on the Omo and when completed it will destroy a fragile environment and the livelihoods of the tribes, which are closely linked to the river and its annual flood.”

Ralph Bennet Crignola 
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sfmoma:

Lebbeus Woods, Architect is currently on view at SFMOMA, and throughout the run of the exhibition, we’ll be using Tumblr as a place to sequentially share Woods’s wonderful sketchbooks, since only a fraction of the pages can be on view in the galleries. See all of the pages we’ve shared so far here.
Image: Lebbeus Woods, Sketchbook, 2000; Courtesy of Aleksandra Wagner; © Estate of Lebbeus Woods
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vintagegal:

Seventeen-year-old Bianca Passarge of Hamburg dresses up as a cat and dances on wine bottles in June 1958. Her performance was based on a dream. She practiced for eight hours a day to do this. (x)
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frenchtwist:

via arpeggia:

Rudolf Schwarzkogler - 3rd Action, 1965
“Rudolf Schwarzkogler was an Austrian performance artist best known today for photographs depicting his series of closely controlled “Aktionen” featuring such iconography as a dead fish, a dead chicken, bare light bulbs, colored liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler’s works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Action (1965) in which a patient’s head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.”
frenchtwist:

via arpeggia:

Rudolf Schwarzkogler - 3rd Action, 1965
“Rudolf Schwarzkogler was an Austrian performance artist best known today for photographs depicting his series of closely controlled “Aktionen” featuring such iconography as a dead fish, a dead chicken, bare light bulbs, colored liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler’s works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Action (1965) in which a patient’s head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.”
frenchtwist:

via arpeggia:

Rudolf Schwarzkogler - 3rd Action, 1965
“Rudolf Schwarzkogler was an Austrian performance artist best known today for photographs depicting his series of closely controlled “Aktionen” featuring such iconography as a dead fish, a dead chicken, bare light bulbs, colored liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler’s works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Action (1965) in which a patient’s head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.”
frenchtwist:

via arpeggia:

Rudolf Schwarzkogler - 3rd Action, 1965
“Rudolf Schwarzkogler was an Austrian performance artist best known today for photographs depicting his series of closely controlled “Aktionen” featuring such iconography as a dead fish, a dead chicken, bare light bulbs, colored liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler’s works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Action (1965) in which a patient’s head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.”
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sculpture-center:

Riitta Ikonen and Karoline Hjorth, Hallvar II, 2011. Digital C-print. Courtesy the artists.
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supersonicelectronic:

Masha Krashnova-Shabaeva.
Illustrations by Masha Krashnova-Shabaeva:
Read More
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hyperallergic:

Visakh Menon, “Bonus Level 12” (2013)  Size: 22 X 30” Medium: Double sided Tape, Colored Charcoal
Created using a unique process of rubbing clear double sided tape on colored charcoal / pastels and then collaging several layers of the now colored translucent tape to create subtle effects of pixellation & hue shifts. This series of drawings are inspired from level maps of 8-bit video games and paying homage to the traditions of geometric abstraction and color field paintings.  
Please visit: www.visakhmenon.com/tagged/levelsto see more drawings from this series
http://visakhmenon.com/image/45769796535
http://visakhmenon.com/image/45157225688
www.visakhmenon.com
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erasing:

Want | Siobhán Hapaska
Photo by Petter Lehto
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artnotart:

“Drum and Bass 2”, 2002 by Mathieu Mercier.
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Barbara Brietenfellner: Fake Shooting
   
The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.” (J.G. Ballard, The Atrocity Exhibition)
Barbara Brietenfellner: Fake Shooting
   
The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.” (J.G. Ballard, The Atrocity Exhibition)
Barbara Brietenfellner: Fake Shooting
   
The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.” (J.G. Ballard, The Atrocity Exhibition)
Barbara Brietenfellner: Fake Shooting
   
The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.” (J.G. Ballard, The Atrocity Exhibition)
Barbara Brietenfellner: Fake Shooting
   
The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.” (J.G. Ballard, The Atrocity Exhibition)
Barbara Brietenfellner: Fake Shooting
   
The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.” (J.G. Ballard, The Atrocity Exhibition)