Charles and Ray Eames, Installation, American Pavilion, Moscow, 1959.

Promotional image for Michelangelo Antonioni’s Blow-Up (1966), US release, 1967. 

Arthur Evans – David Hemmings in Michelangelo Antonioni’s “Blow Up”, 1966

Paul Nash – Steps in a Field Near Swanage, 1935
20 x 36 cm – Paris, MNAM

(via ratak-monodosico)

Mark Lewis – Rush Hour, Morning and Evening, Cheapside, 2005
super 35mm transferred to High Definition, 4 minutes 34 seconds (film still)

Full movie here

Umbo (Otto Umbehr) – Mysterium der Strasse, 1928
29 x 23 cm – New York, Metropolitan Museum of Art

Aby Warburg – Mnemosyne, pl. 79, 1926.

Raoul Ubac – Objets reliés (Connected Objects), 1942
Gouache sur photographie, 18 x 24 cm – Paris, MNAM

Arthur Dove. The Critic, 1925.

Collaged paper, newspaper, fabric, cord, glass, pencil, and watercolor on board
49.5 × 33 × 5.7 cm – Whitney Museum of American Art, New York.

Philadelphia Museum of Art: Installation of the Grand Salon of the Château de Draveil in gallery 260 of the Museum, circa 1936.


Peter Fischli & David Weiss

The Equilibres

Outlaws, 1984, C-print, 13 x 9 1/4 inches

Afternoons Nap, 1986, gelatin silver print, 9 1/4 x 13 inches

Monument, 1984, C-print, 9 1/4 x 13 inches;

International Style, 1984, C-print, 13 x 9 1/4 inches

The Secret of the Pyramids, 1986, C-print, 13 x 9 1/4 inches

Honor, Courage, Confidence, 1984, gelatin silver print, 13 x 9 1/4 inches

As Far As It Goes, 1986, C-print, 13 3/4 x 10 1/4 inches

Quiet Afternoon, 1984, C-print, 13 x 9 1/4 inches

Ben Hur, 1984, gelatin silver print, 9 1/4 x 13 inches

(via dolewal)


"Williams’s photographs can seem almost like nugatory remnants of a process pursued with devotion that is its own reward. The worst that might be said of them is that they enforce a sort of supply-side aesthetic: profiting an élite and trickling down, maybe, to less privileged folks. But they enable a vicarious appeal: imagining what it’s like to care so much about something, no matter what. And one immediately compelling aspect of Williams’s process is his mastery of the forms and protocols of display. The exactingly considered, quite beautiful arrangements of walls and works in the show sparkle with wit, however elusive the content of the jokes may be. (…)

Both artists glory in cultivating shocks—or, anyway, mild bemusements—of recognition, with pointed evocations of culture either low (Koons) or far out (Williams). The major gap—a chasm—between them is worldly. It has to do with disparate visions of, yes, happiness. Koons exalts a society that is defined and dominated by financial wealth, as flaunted by those who have it and presumably admired by those who don’t. Williams assumes and addresses people who would rather be rich in leisure time and energy to visit museums, read specialized books, and savor wayward discourses. Let a fifty-eight-million-dollar stainless-steel balloon dog that astounds the eye while benumbing the mind stand for the values of the first constituency. Have Williams’s murky photograph of a Renault sedan tipped on its side—referring to a factory site and evoking a barricade, from the political upheavals of 1968 in France—represent the knowingness of the second. One party buys and sells. The other talks and talks. The emptied middle that they bracket buzzes with possibilities for a truly satisfactory art, contingent on whether our time proves itself worthy of it.

— Peter Schjeldahl “Sharp Focus” in The New Yorker, August 4th 2014, on the MoMA retrospective of the work of Christopher Williams, The Production Line of Happiness.

Marianne Wex – "Weibliche" und "männliche" Körpersprache als Folge patriarchalischer Machtverhältnisse, mit 2037 Fotografien, 1979.

English version: ‘Let’s Take Back Our Space’. “Female” and “Male” Body Language as a Result of Patriarchal Structures, with 2037 photographs, 1979.
Downloadable as a pdf file here.

Hans-Peter Feldman – Bilder, 1968-71.
11 booklets in a cardboard portfolio, 22 x 22 x 2 cm.

Hans-Peter Feldmann – Sunday Pictures, 1976-77.
21 reprinted posters (black & white offset), folded and stored in a manilla enveloppe,
edition unknown (installation views)