original photo Neave Bozorgi
reblog with 246 notes

cmmnd X, cmmnd V - work in progress, 2014

Akira Satō, Onna (Woman), 1971
reblog with 146 notes

Lowell Birge Harrison, Fifth Avenue at Twilight (c. 1910)
"Lowell Birge Harrison merged his Beaux-Arts academic training with American Transcendentalist sensibilities. He combined a technical finesse with a subjective feeling for the spiritual essence of landscape that made his art and teaching (his textbook on landscape painting was a bestseller in its day) central to the Tonalist movement. Harrison championed what he called “the big vision—the power to see and to render the whole of a given scene or picture motive, rather than to paint a still-life picture of its component parts; the power to give the essential and to suppress the inessential, the power to paint the atmosphere which surrounds the objects rather than the objects themselves….” Like James Abbott McNeill Whistler and George Inness, Harrison sought to express the power of place to move the observer." - Artsy



opens tomorrow, June 19, 6-8p:“Begotten, Not Made” Nicola Samori Ana Cristea Gallery, 521 W26th St., NYCMore than a trick of the eye, Samori’s paintings treat their surface as a material skin transcribing the memory of their process. “Like the eye adjusting to darkness, adaptation is necessary upon entering Samori’s visual cosmos. The images stare at us in an effort of denied vision. With the icy gaze of a femme fatale warning us that she is beyond our reach, they block our penetration. The images feel us, smell us, judge us. They are watching, but they don’t see. So we fix our eyes not on what is seen, but on what is unseen, since what is seen is temporary, but what is unseen is eternal. And we see through a glass, darkly. Sometimes peering in, other times peeling back in search of the surface beneath the surface beneath the surface.”

The Sleep of Reason, 1988 by Bill Viola

Judith Braun, Sacred Order of the Burning Bush, 1993
reblog with 668 notes