1. blakegopnik:

THE DAILY PIC: On Saturday, Marco Rios opened “S is for Sincere, Formerly Formally F is for Fake”, his new show at Simon Preston Gallery in New York. All the canvases from that show, including this one (“#5”), present details of abstractions that Rios made when he was a preschooler, now enlarged to wall-size with an overhead projector. (Although that description of them as “abstractions” begs the question of whether a small child’s picture can ever be classed as either abstract or not, given their maker’s lack of knowledge of the distinction or its history.) Rios talks about the new paintings as collaborations between his younger and current selves, which is a nice idea. They are also appropriations of the former’s art by the latter. That lines them up with the art world’s new-old obsession with outsider art, an obsession that usually turns out to be painfully naïve: Artists and curators present outsider works as objets trouvés, like seashells in a collage, without even realizing it or worrying about it. Rios’s works, however, are as much about undermining that obsession and naiveté as playing to it. His “expressive” “raw” canvases are in fact immaculately painted and stretched–as tidy and meticulous, inexpressive and unspontaneous, as could be. Today’s Daily Pic goes so far as to include glimpses of the black tape that held Rios’s childhood work down on his projector’s glass, the kind of visual incident that brings the whole project more into line with photography than with traditional painting. In his excellent press release for the Preston show, Rios describes his childhood works as presenting “uncorrupted self-expression, which would be impossible now.” I’m glad to say that, in “collaborating” with little Master Rios on these paintings, big Mister Rios is corrupting his own youth. (Image courtesy the artist and Simon Preston Gallery, New York)
The Daily Pic also appears at ArtnetNews.com. For a full survey of past Daily Pics visit blakegopnik.com/archive.

    blakegopnik:

    THE DAILY PIC: On Saturday, Marco Rios opened “S is for Sincere, Formerly Formally F is for Fake”, his new show at Simon Preston Gallery in New York. All the canvases from that show, including this one (“#5”), present details of abstractions that Rios made when he was a preschooler, now enlarged to wall-size with an overhead projector. (Although that description of them as “abstractions” begs the question of whether a small child’s picture can ever be classed as either abstract or not, given their maker’s lack of knowledge of the distinction or its history.) Rios talks about the new paintings as collaborations between his younger and current selves, which is a nice idea. They are also appropriations of the former’s art by the latter. That lines them up with the art world’s new-old obsession with outsider art, an obsession that usually turns out to be painfully naïve: Artists and curators present outsider works as objets trouvés, like seashells in a collage, without even realizing it or worrying about it. Rios’s works, however, are as much about undermining that obsession and naiveté as playing to it. His “expressive” “raw” canvases are in fact immaculately painted and stretched–as tidy and meticulous, inexpressive and unspontaneous, as could be. Today’s Daily Pic goes so far as to include glimpses of the black tape that held Rios’s childhood work down on his projector’s glass, the kind of visual incident that brings the whole project more into line with photography than with traditional painting. In his excellent press release for the Preston show, Rios describes his childhood works as presenting “uncorrupted self-expression, which would be impossible now.” I’m glad to say that, in “collaborating” with little Master Rios on these paintings, big Mister Rios is corrupting his own youth. (Image courtesy the artist and Simon Preston Gallery, New York)

    The Daily Pic also appears at ArtnetNews.com. For a full survey of past Daily Pics visit blakegopnik.com/archive.

  2. discardingimages:

hipster Moses
Bible, Hagenau ca. 1441-1449.
Universitätsbibliothek Heidelberg, Cod. Pal. germ. 19, fol. 141v

    discardingimages:

    hipster Moses

    Bible, Hagenau ca. 1441-1449.

    Universitätsbibliothek Heidelberg, Cod. Pal. germ. 19, fol. 141v

  3. christiannightmares:

Tricky Jesus ‘walks on water’ (For more hilarious GIFs, visit Scorpion Dagger; For a related post, click here http://christiannightmares.tumblr.com/post/93947657371/hilarious-and-disturbing-adam-and-eve-gif-by)

    christiannightmares:

    Tricky Jesus ‘walks on water’ (For more hilarious GIFs, visit Scorpion Dagger; For a related post, click here http://christiannightmares.tumblr.com/post/93947657371/hilarious-and-disturbing-adam-and-eve-gif-by)

  4. Millions of historic images posted to Flickr - BBC News →

    Kalev Leetaru has already uploaded 2.6 million pictures to Flickr, which are searchable thanks to tags that have been automatically added.

    The photos and drawings are sourced from more than 600 million library books scanned in by the Internet Archive organisation.

    The images have been difficult to access until now.

    Mr Leetaru said digitisation projects had so far focused on words and ignored pictures.

    Internet Archive on Flickr:
    https://www.flickr.com/photos/internetarchivebookimages/with/14784850762/

  5. Yes, yes, yes, yes, yes, yes, yes.

    (Source: vine.co)

  6. (via Beyonce Amazing VMA Performance - Beyonce, Jay Z, and Blue Ivy at VMAs - Elle)

    (via Beyonce Amazing VMA Performance - Beyonce, Jay Z, and Blue Ivy at VMAs - Elle)

  7. (via Cartoonist Lynda Barry Reveals the Best Way to Memorize Poetry | Open Culture)

    Lynda Barry is worthy of sainthood for giving the world Marlys and Maybonne, and she still makes cartoons sometimes, but these days she’s better known for her writing workshops. She’s in great form in this short video, like that professor you had back in the day, the one that turned on your love for poetry (or for you maybe it was drama, or painting, or Medieval philosophy) — take a few minutes for joy and some nifty memorization tricks. Follow the link to Open Culture for lots more wonderful things people have done with poetry.

  8. (via How a Reporter’s Clueless Report on ‘Rubber Bullets’ Made the Internet Explode in Hilarious Ridicule)

    (via How a Reporter’s Clueless Report on ‘Rubber Bullets’ Made the Internet Explode in Hilarious Ridicule)

  9. “Why are police calling the people of Ferguson animals and yelling at them to “bring it”? Because those officers in their riot gear, with their tear gas and dogs, want a justification for slaughter. But inexplicably…we turn our attention to the rioters, the people with less power, but justifiable anger, and say, “You are the problem.” No. A cop killing an unarmed teenager who had his hands in the air is the problem. Anger is a perfectly reasonable response. So is rage.

    …How dare people preach and condescend to these people and tell them not to loot, not to riot? Yes, those are destructive forms of anger, but frankly I would rather these people take their anger out on property and products rather than on other people.

    No, I don’t support looting. But I question a society that always sees the product of the provocation and never the provocation itself. I question a society that values property over black life. But I know that our particular system of law was conceived on the founding premise that black lives are white property…

    […]

    Nothing makes white people more uncomfortable than black anger. But nothing is more threatening to black people on a systemic level than white anger. It won’t show up in mass killings. It will show up in overpolicing, mass incarceration, the gutting of the social safety net, and the occasional dead black kid. Of late, though, these killings have been far more than occasional. We should sit up and pay attention to where this trail of black bodies leads us….”

    — Brittney Cooper: In defense of black rage: Michael Brown, police and the American dream (via misandry-mermaid)

  10. america-wakiewakie:

    The fight for humanity and just treatment continues