Terunobu Fujimori

Fujimori's goal is to "rethink the basic relationship between architecture and nature using natural materials and plants and get closer to the time when human beings first built the artificial structures known as architecture."

The exhibition these images come from also includes work by the ROJO Society, which Fujimori helped found. They were a small but heterogeneous group of artists and writers who "collect[ed] objects and structures that reveal unnecessary beauty in the midst of the city."

Green Dress and World's Best Slippy Slide

Ping Pond Table
Gabriel Orozco

Friend and writer Sam Bull's British Pop Stars and Me.


This is the best YouTube video I've seen in a pretty long time. Djiday sums it up with,

"I dont know why but I LOVE this video thx man."


"A document of Martin Beck's video work of the same title, showing the assembly and disassembly of the seminal 1948 Struc-Tube exhibition system by the American designer George Nelson. Essays by Emily Pethick, Bill Horrigan and Martin Beck contextualise the work within contemporary artistic practice and elaborate on aspects of sovereignty and control in modern exhibition history."

This book looks interesting, it's available through Four Corners, a London based publishing company with open submission!


Aram Saroyan 1965

Magic Carpet, 2008

One of Saroyan's most famous poems was simply the unconventionally spelled word "lighght" in the center of a blank page. This poem was selected by George Plimpton to be featured in The American Literary Anthology and, like all poems in the volume, received a $500 cash award from the National Endowment for the Arts, then just five years old. Many conservatives, such as Representative William Scherle and Senator Jesse Helms, objected at the per-word amount of the award, complaining that the word was not a real poem and was not even spelled correctly. This was the NEA's first major controversy; the "lighght" controversy was still being referenced by conservatives to decry the NEA 25 years later.

Saroyan was 22!


White Brushstroke I, 1965

Large Spool, 1963
Composition, 1971

Roy Lichtenstein...Classic!


Carlo Ferraris "Standing Carrot" 2008


Luna Maurer, Argyle Pullover, 2004:
The traditional Argyle-pattern is distorted by capturing the different effects that body postures and movements have on clothes


It's been pretty emotional here in Chicago..


Mark Manders

Inhabited for a Survey (First Floorplan from Self-portrait as a Building), 1986

From the Renaissance Society's introduction to his 2003 show there: "Born in 1968, Manders belongs to a generation of post-minimal sculptors whose work is unabashedly grounded in narrative. [...] Manders, however, uses the figure sparingly, relying instead on alterations and configurations of everyday objects and architectural fixtures to create disturbingly quizzical tableaux and installations that evoke the feeling of absence rather than presence. Subjectivity and identity are questioned rather than asserted through naturalistic rendering of the human form."

I also really like this quote about drawing:
"For me, drawing is more an investigation of thought than an investigation of observation. Before I've drawn them, the drawings are often as short and compact as thought. It's interesting to look at yourself from the outside as you are drawing and see how the thoughts you portray are partly visual and partly linguistic. The beautiful thing about a drawing is that you can seize it as an image in your mind, but the moment you want to comprehend the image, the drawing becomes spherical, and the mind can no longer illuminate it from all sides at the same time. Drawings are often composed only of a few small gestures on a sheet of paper. All that's left on the page is black powder, which can evoke a special language for the viewer, a language that can touch things that are important in life - all this in a relaxed and free manner. I would like to see my drawings as a spectator does. As a spectator, I think it's interesting to try to retrace the mental process of the person who made the drawing. A drawing is a transparent skin suspended between the artist and the spectator for comparison."