readon.lyHome

Browse highlights
art

Close

Drag this ✎ Highlight bookmarklet to your toolbar, and highlight away!

Intrigued? Let's look at an example.

  1. Andy Goldsworthy (1)
  2. art (27)
  3. Beau (1)
  4. cognitif (1)
  5. creativity (3)
  6. David Rovics (1)
  7. design (2)
  8. Edward Hopper (1)
  9. food (1)
  10. funny (1)
  11. future (1)
  12. human (1)
  13. inspiration (1)
  14. Instagram (1)
  15. internetmeme (1)
  16. JR (1)
  17. métaphore (1)
  18. Mark Menjivar (1)
  19. meme (1)
  20. Mondrian (1)
  21. Morgan Meis (1)
  22. museums (2)
  23. olfaction (1)
  24. Peinture (1)
  25. pensée (1)
  26. photography (2)
  27. politique (1)
  28. Portrait (1)
  29. portraits (1)
  30. refrigerators (1)
  31. Robert Shetterly (1)
  32. Sissel Tolaas (1)
  33. social (1)
  34. stories (1)
  35. superhero (1)
  36. technology (1)
  37. visualization (1)
  38. You Are What You Eat (1)
  39. youth (1)

  1. “She said children were always surprised when she made design comparisons between medieval illuminated manuscripts and Web pages. “The mixture of text and images all over the Internet is very visual, and medieval manuscripts are very visual,” she said. “These manuscripts are not paginated and the Internet is not. You can scroll and scroll and need visual aids to figure out where you are.””

    www.nytimes.com
    meljohnso

  2. “The sources state that the bird resembles the Tichodroma muraria, or “wall creeper,” a bird believed to frequent graveyards and nest in skulls. The Ticholroma muraria might therefore refer to the ruinous effects of time, and the squirrel might have a similar meaning. Checking Wikipedia’s entry on the Ticholroma muraria, I find no references to cemeteries or skulls, just buildings and quarries. The bird is thought to re-appear in another one of Tura’s paintings: a splendidly twisted and knotted St Jerome, also in the National Gallery. Here, the Tichodroma muraria can be found perched on a branch of a tree above Jerome’s lion. According to the NG’s website, the wall-creeper (and an owl) might symbolise evil.”

    artintheblood.typepad.com
    meljohnso

  3. “In recent years technology has changed her work. Before digital cameras “I would do the character, set everything up. take a roll of film, get out of character, take the makeup off and go to the lab and wait a few hours for the film to be developed,” she said. “Then I’d look at the film and realize something didn’t work out. And I’d have to redo everything myself. Now I can continue working and tweak it as I’m going.””

    www.nytimes.com
    meljohnso

  4. ““The contradictory and complex readings of her work reinforces its ongoing relevance to multiple audiences,” Ms. Respini said. “More than ever, identity is malleable and fluid, and her photographs confirm this.””

    www.nytimes.com
    meljohnso

  5. “Looking back 400 years later, the historian Jakob Burckhardt influentially argued that the new popularity of portraiture reflected the advent of individualism and subjective self-awareness, a kind of consciousness that had lain dormant since ancient Rome. Later scholars disputed and revised that theory, and this show’s curators — Keith Christiansen, the Met’s chairman of European paintings, and Stefan Weppelmann, curator of early Italian and Spanish painting at the Gemäldegalerie in Berlin — propose that the key issue was identity: at a time of accelerated social change, Renaissance portraits signified a person’s family, class, rank and political affiliations, and his place in various shifting hierarchies of status and power.”

    www.nytimes.com
    meljohnso

  6. “An intense curiosity and questions about stewardship led me to begin to make these unconventional portraits. A refrigerator is both a private and a shared space. One person likened the question, “May I photograph the interior of your fridge?” to asking someone to pose nude for the camera. Each fridge is photographed “as is”. Nothing added, nothing taken away. These are portraits of the rich and the poor. Vegetarians, Republicans, members of the NRA, those left out, the under appreciated, former POWs, dreamers, and so much more. We never know the full story of one’s life.”

    markmenjivar.com
    admelfo

  7. “and an audio tour of the exhibition spoken by Mr. Waters in pig Latin. “I know people get really upset by impenetrable art-speak, and I wanted to comment on that.””

    www.nytimes.com
    meljohnso

  8. “While the patient reclined, Mr. Melamid sat in a chair under a portrait of himself and took notes on a clipboard. He wanted to know specifics about the patient’s malady, and about any museums he had visited recently. Told that the patient had been looking at a lot of Whistlers, he nodded and said, “Not enough masterpieces.””

    www.nytimes.com
    meljohnso

  9. “Mr. Melamid loves medical terminology, he said, because it reminds him of art criticism.”

    www.nytimes.com
    meljohnso

  10. “In a perhaps related argument, James Simpson presents abstract expressionist art as an example of iconoclasm, which he argues is a central strand of Anglo-American modernity and not only something promulgated by the Taliban destroyers of Buddha statues, or England’s dissolvers of monasteries. In his account, museums are places of safety, offering images “silent protection from the noisy violence of the iconoclast’s hammer”. However, in protecting, the museum neutralises. “The image, now safely ensconced in the museum and observed by the cultivated and the wealthy, enables the cultivation of taste, rather than salvation.””

    www.theartnewspaper.com
    meljohnso