thedowntown500:

Jeu de Paume

Aernout Mik, “Shifting Sitting,” 2011.* 

artruby:

Robert Gober Untitled Leg (1989-1990).

undr:

André Kertész

Fête Forain, 1931

drawpaintprint:

Kathe Kollwitz: Self- Portrait with Hand on Brow (1910) Etching

theincompletenesstheorem:

Jay DeFeo working on what was then titled Deathrose, 1960. 

Courtesy of the Whitney Museum

endthymes:

adrian piper, catalysis VI (new york, 1970 performance)

“Piper’s Catalysis was a series of conceptual performances in Manhattan that violated social norms of public behaviour. Photographs document the artist bearing a WET PAINT sign in a crowded street, stuffing her mouth with a towel on public transportation, wearing smelly clothes inside a store, and playing a recording of belching sounds inside a library. Piper never announced that she was performing; unlike televised pranks, the interventions offered no moment of revelation for the strangers who witnessed her behaviour. By escaping the confines of the art context, Piper risked appearing repellent, if not crazy. Acting as a catalytic agent for chance reactions, she dissolved the boundary between art and life.”

We the People, Danh Vo