Montenegro

hyperallergic:

Chimpanzee’s Polaroids Expected to Fetch Big Money at Auction

Mikki the chimpanzee learning to use a camera with Vitaly Komar and Alexander Melamid (all images…

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installator:

Before the Martin Creed “Mothers” install with Neon Circus, UK in front of the MCA in Chicago. 2012  (nobleneon)

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Martin Creed (British, b. 1968), Work No. 1357, MOTHERS, 2012. White neon and steel. Courtesy of the artist and Gavin Brown’s enterprise, New York. © Martin Creed. Author’s photograph. (theafproject)

We like this in Chicago.

newsweek: theworstroom: Prospect Lefferts Gardens, Brooklyn. “Looking for two roommates.”  “Top bunk is $500 per month, bottom bunk is $600 per month.” Wait. Top bunk is cheaper? Are they crazy!? This is a steal. Newsweek staffers clearly never had to clamber drunk out of a top bunk in the middle of the night to use the bathroom.

newsweek:

theworstroom:

Prospect Lefferts Gardens, Brooklyn.

“Looking for two roommates.” 

“Top bunk is $500 per month, bottom bunk is $600 per month.”

Wait. Top bunk is cheaper? Are they crazy!? This is a steal.

Newsweek staffers clearly never had to clamber drunk out of a top bunk in the middle of the night to use the bathroom.

cavetocanvas: Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965 One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via) Tom Waits would dig this.

cavetocanvas:

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965

One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)

Tom Waits would dig this.

slaughterhouse90210: “I am going to tell you a secret. Everything is about wanting. Everything. Things happen because of people wanting. Watch closely, and you’ll see what I mean.” ― David Mitchell, Ghostwritten   “‘[…] you’ll see what I mean.’”

slaughterhouse90210:

“I am going to tell you a secret. Everything is about wanting. Everything. Things happen because of people wanting. Watch closely, and you’ll see what I mean.” 
― David Mitchell, Ghostwritten

 

“‘[…] you’ll see what I mean.’”

theparisreview: “Pen names have long been a means for writers to inhabit another identity—to attain privacy, assume the acceptably literate gender, or play with the freedom of a psychic unburdening. But at what point does a pseudonym become obfuscation, transgression?” Luling Osofsky on Kent Johnson’s / Araki Yasusada’s / Tosa Motokiyu’s “Mad Daughter and the Big-Bang.” Photo via Ms. Anon of www.ourwomenarenightless.tumblr.com is a practitioner with numerous pen names. They allow him to be she; they afford him his own prolificacy by stretching his work across several identities. They are his many parts and yet he does not wholly comprise them; this is strategic and to his advantage. He is multifaceted and yet not merely the sum of his works’ authors.

theparisreview:

“Pen names have long been a means for writers to inhabit another identity—to attain privacy, assume the acceptably literate gender, or play with the freedom of a psychic unburdening. But at what point does a pseudonym become obfuscation, transgression?”

Luling Osofsky on Kent Johnson’s / Araki Yasusada’s / Tosa Motokiyu’s “Mad Daughter and the Big-Bang.”

Photo via

Ms. Anon of www.ourwomenarenightless.tumblr.com is a practitioner with numerous pen names. They allow him to be she; they afford him his own prolificacy by stretching his work across several identities. They are his many parts and yet he does not wholly comprise them; this is strategic and to his advantage. He is multifaceted and yet not merely the sum of his works’ authors.

skibinskipedia: Good morning! Little odes to Parker Posey pop up in my correspondences every couple months.

skibinskipedia:

Good morning!

Little odes to Parker Posey pop up in my correspondences every couple months.