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Art history student. Fool for love.
Senga Nengudi and Maren Hassinger, Performance Piece, 1978

Senga Nengudi and Maren Hassinger, Performance Piece, 1978

Ana Mendieta, Untitled (Creek #2), 1974

Ana Mendieta, Untitled (Creek #2), 1974

I am not interested in deconsecrating: this is a fashion I hate, it is petit-bourgeois. I want to reconsecrate things as much as possible, I want to re-mythicize them.

Pier Paolo Pasolini

hell yeah

(via lovevoltaireusapart)

(via lazz)

Leonor Melara, Ian Alan Paul, David Zlutnick, A Future Memorial For NAFTA, 2014

Leonor Melara, Ian Alan Paul, David Zlutnick, A Future Memorial For NAFTA, 2014

Actually, to choose is always painful.
— (via grupaok)

(via grupaok)

Source: variety.com
color study by Bernadette Pascua

color study by Bernadette Pascua

Carolyn Brown in Merce Cunningham’s Summerspace, 1958. Design by Robert Rauschenberg.

Carolyn Brown in Merce Cunningham’s Summerspace, 1958. Design by Robert Rauschenberg.

Mary Heilmann, Spots, 2011

Mary Heilmann, Spots, 2011

dappledwithshadow:

Dancer, Edgar Degas Photograph

dappledwithshadow:

Dancer, Edgar Degas Photograph

Rosemarie Auberson

Rosemarie Auberson

Dora Maurer, Studies of Minimal Movements VI, 1972

Dora Maurer, Studies of Minimal Movements VI, 1972

Joan Jonas, The Hand Reverts to Its Own Moment, 2007

Joan Jonas, The Hand Reverts to Its Own Moment, 2007

Denishawn dancers

Denishawn dancers

Sydney Cohen, from the Some Other Kinds of Needs series, 2013

Sydney Cohen, from the Some Other Kinds of Needs series, 2013

"the self that Trio A instantiates is not one that merely says no; it also is desirous; it is contingent; it is relational and sensitive to its proximities to others; it does not take itself too seriously. In fact, Rainer has said that her ‘No Manifesto’ has haunted her, and that she ‘wishes it could be buried.’  She once told me that she should have written a Yes manifesto.

In the wake of learning Trio A, here is my provisional version of what such a manifesto would look like: yes to looking to the past for a way to endure the present, yes to inventing mediums and yes to creating new muscle memories and yes to alternative models of transmitting knowledge and yes to potential humiliation and yes to possible failure and yes to passion and yes to aging and yes to the messiness of contemporary art history as an uncertain and vital and undefined platform and yes to queer temporalities and yes to desirous histories and, finally, yes to bowing. “

Julia Bryan-Wilson, “Practicing Trio A,” October, Vol. 140 (Spring 2012), p. 74. 

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