Reblogged from this isn't happiness.
… i am doing is inviting the viewer to invent their own story … over the last 14 years art went from a hobby to something i did part time professionally and then it become my full time job. when you’re a creative person and you’re not actively creating there’s this hole inside of you. but then when i started painting and drawing and when i became a prolifically creative person the hole went away. and i realized that is why it was there to begin with … the most important thing in life, i think, is love. so, respecting yourself enough and your intuition enough to get up do what you love everyday. and i realize that is a privilege, not everybody is in a situation where they can get up and, for example, paint all day. or whatever it is that makes you happy.
- isa congdon for like knows like | via swiss-miss [emphasis mine]
Lisa Congdon is one of my favorite artists & illustrators.
GPOYW-“Actually Doing The Things” Edition
I’m powering the lights at the Stefan Sagmeister show at MOCA PDC. If you haven’t been, you should go! It’s fun! You get to ride a bike!
I like when art is interactive. See also: Carsten Höller, Test Site
Reblogged from hyde or die
Jenny Holzer, Lustmord Table, 1994
From The Art Blog:
Updating her Lustmord Tables (1994), also on display and which presents two tables full of bones with silver bands imprinted with quotes from accounts of the war in Yugoslavia, Holzer has abstracted the skeletal form in LED light displays broadcasting transcripts from Guantanamo Bay interrogations.
Reblogged from Cave to Canvas
Jenny Holzer, Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text, 1991
From the Boston Museum of Fine Arts:
In 1977 Holzer created Truisms, her first all-text compositions. She typed “one-liners,” had them printed commercially, and pasted them up as posters on the street. Later, Holzer placed her words on such familiar, ubiquitous objects as LED signs, T-shirts, and stickers. Variously insightful, hostile, or comic, these words and phrases express multiple viewpoints and arouse multiple responses. As the artist intended, numerous people have read her words and been amused, challenged, or provoked.
In 1990 the Museum of Fine Arts commissioned Holzer to create this LED sign for the collection. The artist chose to include excerpts from seven different series created between 1977 and 1990, each selection appearing in a different typeface and format. The words stream at varying speeds, and the tone is constantly changing-aggressive to mild, authoritative to questioning, practical to fear inducing. The result is a blend of familiarity and confusion that puts Holzer’s artwork squarely in the modern age of advertising slogans, newspaper headlines, and sound bites.
Reblogged from Cave to Canvas
Reblogged from this isn't happiness.
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