Sigmar Polke, “Apparatus Whereby One Potato Can Orbit Another,” 1969
Ideal Halloween costume
Kate Bush, 1981
André Breton, Jack the Ripper (Jack l’éventreur), from VVV Portfolio, 1942
Offset lithograph postcard, ink, metallic paint, thread, and sequins on paper
Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950; 1950-134-972
Another Brutalist building in peril, with added intrigue.
Sir Roland Penrose (1900-1984)
Seeing is Believing (L’Ile Invisible), 1937
oil on canvas, 40 x 30 in. (101.6 x 76.3 cm.)
Sophie Taeuber-Arp, Composition of Circles and Overlapping Angles, 1930 (Museum of Modern Art, New York)
Talking Heads at CBGB, December 1975
Wall of Voodoo, “Back in Flesh,” from “Urgh! A Music War” (1981).
Can we do a roll call for all the Wellesley peeps on Tumblr? Just reblog this if you go to/went to Wellesley. If you are inclined, you can add your name and year but it’s fine if you don’t.
<3 Wellesley Underground
2005, year of excellence!
Orange Juice, “Rip it Up” (1983)
The song is 2000x better than the lip-synching.
Vilhelm Hammershøi, Woman in an Interior, c. 1905
John Latham (British, b. Zambia, 1921-2006). Art and Culture, 1966–69. Leather case containing book, letters, photostats, and labeled vials filled with powders and liquids: case, 3 x 11 x 10 in. (7.9 x 28.2 x 25.3 cm). The Museum of Modern Art, New York; Blanchette Hooker Rockefeller Fund.
Saw this in the fabulous Materializing Six Years: Lucy B. Lippard and the Emergence of Conceptual Art exhibition at the Brooklyn Museum of Art last December. The vials contain chewed and fermented pages from Clement Greenberg’s Art and Culture.