A Spectacled owl at the New York State Zoo, photo by Joel Sartore/National Geographic
(Source: Guardian)
Francis Bacon, Study for a Portrait II (after the Life Mask of William Blake), 1955. Oil on canvas.
(via fckyeaharthistory)
![hyperallergic:
Alexandra Pirici, “Dacă voi nu ne vreţi, noi vă vrem, [If you don’t want us, we want you]” (2011)
equestrian - postcards documenting public space interventions/sculptures
“Dacă voi nu ne vreţi, noi vă vrem [If you don’t want us, we want you], the work of Alexandra Pirici represents different enactments of living sculptures, confronting public heroic monuments and buildings in Bucharest, such as the controversially rebuilt equestrian statue of Carol I, the monument of the 1989 Revolution or the House of the People.
The artists embody the awkward reflexion of a past that is all too questionable despite its apparent immutability, with well-rooted and imposing effects on the present. In the uneven relationship between their bodies and the stone or the bronze, they manage to cast doubt upon their objects of reference, to reveal them as the real ghosts.”
(Raluca Voinea - curator of “Doppelganger of the Recent Past” exibition)](http://24.media.tumblr.com/tumblr_lzvzvsfyAh1qzaos7o1_250.jpg)
Alexandra Pirici, “Dacă voi nu ne vreţi, noi vă vrem, [If you don’t want us, we want you]” (2011)equestrian - postcards documenting public space interventions/sculptures
“Dacă voi nu ne vreţi, noi vă vrem [If you don’t want us, we want you], the work of Alexandra Pirici represents different enactments of living sculptures, confronting public heroic monuments and buildings in Bucharest, such as the controversially rebuilt equestrian statue of Carol I, the monument of the 1989 Revolution or the House of the People.The artists embody the awkward reflexion of a past that is all too questionable despite its apparent immutability, with well-rooted and imposing effects on the present. In the uneven relationship between their bodies and the stone or the bronze, they manage to cast doubt upon their objects of reference, to reveal them as the real ghosts.”(Raluca Voinea - curator of “Doppelganger of the Recent Past” exibition)
This is a specially designed version of the motorized 500EL intended for use on the surface of the moon, where the first lunar pictures were taken on 20 July 1969 by Neil Armstrong. The camera is equipped with a specially designed Biogon lens with a focal length of 60 mm, with a polarization filter mounted on the lens. A glass plate (Reseau-Plate), provided with reference crosses which are recorded on the film during exposure, is in contact with the film, and these crosses can be seen on all the pictures taken on the moon from 1969 to 1972.
Helmut Smits, Dead Pixel in Google Earth, 82 cm x 82 cm burned square,
2008 - 2010
(Source: nicologic)
