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rudygodinez:

R.H. Quaytman, 14. Exhibition Guide, Chapter 15 (ICA Archive 3, Art For U.S. Embassies), (2009)

Third, the artist occupies a peculiar place in class structure. Working with our hands we are laborers. And yet, by expending a great amount of time and materials creating ostensibly useless objects, we are wastrels, dilettantes, connoisseurs. The artist functions at once as a déclassé laborer and as a decadent god. Either way the discomfort associated with mucking about in the dirt is pushed as far away as possible.

— Jessica Stockholder, “Art & Labor” (via imitating-life)

Added at 9:49pm5 notes
notimejustclocks:

Jessica Stockholder
Made of Two Elements, 1990
natalielomeli:

Jessica Stockholder
gilliflower:

robert filliou, george maciunas, peter moore, daniel spoerri & robert watts, 1967 (via hoolawhoop)
ueai:

Jules Wabbes, Bench relax. Bench in mansonia plywood covered with vinyl, made for the classroom of the Belgian section at the XIIth Triennale di Milano in 1960.
artspotting:

Eva Hesse 1966 (von robybeef) via patternpatty.tumblr.com
artnet:

Matisse at Tate Modern
“An artist should never be a prisoner of himself, a prisoner of style, a prisoner of a reputation, a prisoner of success,” wrote Henri Matisse in his book Jazz (1947). It was with this book that the French painter, then already in his seventies, radically challenged his own practice. 
aqqindex:

Paul Pfeiffer, The Playroom, 2012
Leave us alone without books and we shall be lost and in confusion at once.

— from “Notes from Underground” by Fyodor Dostoevsky (via clubdenni)

Added at 10:54pm380 notes
Rachel Harrison

Entire human skeleton in a box.
ocn:

Erich Reusch
Sculpture at the documenta 6, Kassel, 1977
Corten steel