collections: Alexander Calder

Pictures of Calder's wonderful, mad-hatter mess by Pedro Guerrero.
“Be careful where you step,” Calder warned
Guerrero in the studio, “everything here is important.”


go west

We bid farewell to dear friends tonight
as they head out West into deserts and
the next chapter of their remarkable
little adventure in art and family.
Cheers, golden friends, to the good, the beautiful and the true.

(image of Arcosanti via Amourette.)


Manuel Reyna

Portrait of the poetess Saigû no Nyôgo (929-985)

Izumi Shikibu (ca. 975-1027?)

Portrait of the poetess Shikishi Naishinnô (1153? - 1201)




I think the reason to do something in the social realm now is that
America has all these spaces that are inhospitable to that
kind of interaction. And also as a whole we’ve just kind of
stripped away the social constructs that were always in place —
little things, from manners to speaking properly to the right
way to introduce someone, to more complex rituals like balls
and Masonic societies. All these things had intricate structures
in place that would allow someone to be in public and give them
some sort of water wings so they could interact. Now we don’t have that.

-- artist Tom Russotti, creator of Aesthletics, from here


small scaled, for giants

Wee Georgia O'Keefe beside her enormous painting Sky Above Clouds IV

Oh where to set the Moores? Here? There?

I love this little museum -- designed by the late (questionably) great Philip Johnson, the place sits in a scorch zone atop a small hill in Fort Worth. It's the sort of museum that feels full of someone's private treasures and good-mannered artifacts, full of civility. Some rooms have taupe carpet that's matted from 50 years of footsteps, replete with little pedestals holding up Remington's -- bronze cowboys firing away at each other in perpetuity. And then there is the occassional delight of stumbling across a funeral-black Nevelson, a small, quiet Arthur Dove, a chalky Milton Avery or this beauty by William McCloskey that's as fresh as citrus, but rich.


on myth-making

There is as much to say about Piero Manzoni,the artist,
as there is to say about his work. They are, more or less,
inextricably bound to one another. His case is much like
that of Warhol, Beuys, Duchamp, or for that matter,
Hilna af Klimt. When an artist takes the risk of creating a self-invested myth,
the repercussions that follow may appear overwhelming.
The shorter the lifespan, the more likely the myth will survive

Robert C. Morgan, here

To change your art, Beuys would instruct, change yourself.
A fellow-student, fancying a resemblence in photographs,
dubbed Peter Heisterkamp Blinky Palermo,
after a Philadelphia fight fixer and ex-con...
Beuys approved. What's in a pseudonym?
How would it affect the aura of nineteen-twenties
Paris if Man Ray had kept his birth name of
Emmanuel Radnitsky, or that of the sixties
everywhere if their essential voice answered
to Robert Zimmerman? A gaudy alias may
express identification with a radically new sensibility,
stepping Venus-like from the surf of history.

Peter Schjeldahl, here

(image via)



My dining room table is my current studio,
which rather limits how big I can work.
And then there is the issue of storage...

I am always thinking up spaces like this one
in hopes of stretching out a little,
making bigger messes,
and having a legitamate, sole-purposed space to think.

(found via pinterest)


home library (shop)

There's No Place Like Here: Brazenhead Books from Etsy on Vimeo.

You may very well have seen this already, but here it is again.
We used to lose my dad in shops like this whenever we'd
visit tiny towns along the New England coast.
"Where's Dad?.... Let's ask where the bookstore is."
We'd never have found him if he'd been hiding in Michael's shop.

(thanks for the tip, partner.)


August Sander

Secretary at a radio station, 1931/Printed 1997

The Wife of Architect Hanz Heinz Luttgen,
ca. 1930/Printed 1997

Circus artist, 1926/Printed 1997

student work

Marcel Breuer, armchair, 1922

Breuer designed this wooden chair at the age of 20,
while still a student at the Bauhaus in Dessau, Germany.