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20aliens:

Jasmine Deporta

20aliens:

Jasmine Deporta

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tierradentro:

“The Clown”, 1943, Henri Matisse.

tierradentro:

The Clown”, 1943, Henri Matisse.

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1000scientists:

#8 Water and Persian Rugs, 2004Jalal Sepehr

1000scientists:

#8 Water and Persian Rugs, 2004
Jalal Sepehr

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This was posted 1 week ago. It has 8,206 notes. .

tangerine15:

A short animated film I made for my final project at the California State Summer School for the Arts (CSSSA).

This is the first finished animated film I have ever made, and we were given 6 days to make it (from concept to finish).

^^^^ watch my film

This was posted 1 week ago. It has 37 notes.
lehroi:

Occupy Parking Lots (with Persian Rugs), 2012.
Jogging

lehroi:

Occupy Parking Lots (with Persian Rugs), 2012.

Jogging

(via hswoon)

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euo:

dedos by nuncamasloca on Flickr.

euo:

dedos by nuncamasloca on Flickr.

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colin-vian:

  Modigliani, nudo seduto (1916)

colin-vian:

  Modigliani, nudo seduto (1916)

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e-hoe:

cistro:

drrun:

sureall:

anidote:

mellifluis:

odiant:

hommesessed:

thedevilwearslaurent:

mhsteger:

Composition with Red, Yellow and Blue (1928) by Piet Mondrian (born 7 March 1872; died 1 February, 1944); in the collection of the  Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany.
'Mondrian did not consider his paintings and their guiding principles merely to be articulations of a personal expression or style.  Rather, he saw them as neutral and “objective” and hence as available—indeed, “recommended”—to all practitioners in the visual arts.  He was one of the first avant-garde artists to speculate about the obsolescence of easel painting and, in this sense, he adduced a Hegelian linkage between artistic autonomy and the end of art.  The casualty within his theory is the value of “personal expression,” one that usually is positively associated with the avant-garde.  Although this notion of self-expression may be historically understood as the egalitarian offspring of the older, more elitist, notion of genius, it remains a mandate for the artist to follow his private vision and forge an individual style.  For the utopian ambitions of Mondrian, however, this “subjectivity” works against the “objective historical fact” of the discovery and articulation of artistic universals.  Personal expression, then, unless at the service of these universals, is viewed as decadent or arbitrary.’

—from Art and Concept: A Philosophical Study, by Lucian Krukowsky (1987)

e-hoe:

cistro:

drrun:

sureall:

anidote:

mellifluis:

odiant:

hommesessed:

thedevilwearslaurent:

mhsteger:

Composition with Red, Yellow and Blue (1928) by Piet Mondrian (born 7 March 1872; died 1 February, 1944); in the collection of the Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany.

'Mondrian did not consider his paintings and their guiding principles merely to be articulations of a personal expression or style.  Rather, he saw them as neutral and “objective” and hence as available—indeed, “recommended”—to all practitioners in the visual arts.  He was one of the first avant-garde artists to speculate about the obsolescence of easel painting and, in this sense, he adduced a Hegelian linkage between artistic autonomy and the end of art.  The casualty within his theory is the value of “personal expression,” one that usually is positively associated with the avant-garde.  Although this notion of self-expression may be historically understood as the egalitarian offspring of the older, more elitist, notion of genius, it remains a mandate for the artist to follow his private vision and forge an individual style.  For the utopian ambitions of Mondrian, however, this “subjectivity” works against the “objective historical fact” of the discovery and articulation of artistic universals.  Personal expression, then, unless at the service of these universals, is viewed as decadent or arbitrary.’

—from Art and Concept: A Philosophical Study, by Lucian Krukowsky (1987)

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georgy-konstantinovich-zhukov:

Armenian Genocide Remembrance Day, April 24th

Although Armenians under Ottoman rule had been mistreated regularly for many years, the outbreak of World War I led the Ottomans to believe that they had to eliminate what they saw as a potential fifth column within their empire. On April 24th, the traditional start date of the Armenian Genocide, hundreds of Armenian intelligentsia were rounded up and imprisoned as British troops landed on Gallipoli.

Over the next few years, between 1 million and 1.5 million Armenian men, women and children in the Ottoman Empire were systematically exterminated through mass killings and death marches through the desert, and countless more imprisoned or deported from the empire. To this day the Turkish government refuses to acknowledge a genocide even occurred.

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