thecamhouston:

Edward Ruscha, Box Smashed Flat, 1961. Oil and ink on canvas, 70 1/2 x 48 inches.

thecamhouston:

Edward Ruscha, Box Smashed Flat, 1961. Oil and ink on canvas, 70 1/2 x 48 inches.


The Future is Stupid — Jenny Holzer, 2006

She was right!

The Future is Stupid — Jenny Holzer, 2006

She was right!

thejogging:

Caulfield in 2014, 2014
Literary
╙

thejogging:

Caulfield in 2014, 2014

Literary

marissamayr:

Q1 2014 earnings webcast - here we come!

marissamayr:

Q1 2014 earnings webcast - here we come!


Matthew Shaw and William Trossell, the London-based duo known as ScanLAB Projects, continue to push the envelope of laser-scanning technology, producing visually stunning and conceptually intricate work that falls somewhere between art and practical surveying. Their work also bears an unexpected yet increasingly pronounced political dimension, as they have scanned concentration camp sites, designed insurgent objects for thwarting police laser scanners, and even point-mapped melting ice floes in the Arctic as part of a larger study of climate change. The results are astonishingly, almost hypnotically detailed, as in this cinematic fly-through of an outdoor festival, where we pass through tent walls and very nearly see recognizable expressions on participants’ faces. It’s as if the future of the motion picture might really be narrative holograms. Last week, Shaw and Trossell premiered a new project at London’s Surface Gallery, exploring where laser scanners glitch, skip, artifact, and scatter. Called Noise: Error in the Void, the show utilizes scanning data taken from two locations in Berlin, but—as the show’s title implies—it actually foregrounds all the errors, where the equipment went wrong: a world of “mistaken measurements, confused surfaces and misplaced three-dimensional reflections.”

(via BLDGBLOG: Romanticism of the Scanning Error)

Matthew Shaw and William Trossell, the London-based duo known as ScanLAB Projects, continue to push the envelope of laser-scanning technology, producing visually stunning and conceptually intricate work that falls somewhere between art and practical surveying.

Their work also bears an unexpected yet increasingly pronounced political dimension, as they have scanned concentration camp sites, designed insurgent objects for thwarting police laser scanners, and even point-mapped melting ice floes in the Arctic as part of a larger study of climate change. The results are astonishingly, almost hypnotically detailed, as in this cinematic fly-through of an outdoor festival, where we pass through tent walls and very nearly see recognizable expressions on participants’ faces. It’s as if the future of the motion picture might really be narrative holograms.

Last week, Shaw and Trossell premiered a new project at London’s Surface Gallery, exploring where laser scanners glitch, skip, artifact, and scatter. Called Noise: Error in the Void, the show utilizes scanning data taken from two locations in Berlin, but—as the show’s title implies—it actually foregrounds all the errors, where the equipment went wrong: a world of “mistaken measurements, confused surfaces and misplaced three-dimensional reflections.”

(via BLDGBLOG: Romanticism of the Scanning Error)

procrastinaut:

If I understand this correctly, what we have here is a line of security cameras that look like cute little animals.
(via Bem Legaus!: Bichos de segurança)

Previously: A Security Camera Worth Looking At.

procrastinaut:

If I understand this correctly, what we have here is a line of security cameras that look like cute little animals.

(via Bem Legaus!: Bichos de segurança)

Previously: A Security Camera Worth Looking At.

(via Labyrinthine Drawings of Interconnected Rooms by Mathew Borrett | Colossal)
(via Aida Silvestri | i like this art)
(via John Knuth | i like this art)

inlovewiththeflow:

hiphopisvintage:

My favorite picture/piece of artwork by far.

I love this so damn much

If I were in NYC Friday April 25, 2014, I would go to 195 Ave. C to check this out:

Super is the final project of Richard Clarkson’s MFA at SVA. The thesis is an inquiry into why superpowers hold so much sway over specific western populations and exploring why Richard was so enchanted by them.

Through the research he found that historical superpowers were derived from abstractions of human nature, fears and desires and later used as a way to mitigate paranoia and social unease. Personally superpowers became Richard’s coping mechanism during his transition from New Zealand to New York, into an enormous world with truly insurmountable problems.

(via rsvp — realunreal.)

headlikeanorange:

I thought this breed of cattle only lived in the Alps.

headlikeanorange:

I thought this breed of cattle only lived in the Alps.


Programming Beauty by Kurt Kranz, c. 1930Also
Programming Beauty by Kurt Kranz, c. 1930

Also

Freedom.

Freedom.