Holy Scraps

"Admiration for a quality or an art can be so strong that it deters us from striving to possess it."
-Nietzsche

Peter Hujar, David Lighting Up, 1985

Peter Hujar, David Lighting Up, 1985

David Wojnarowicz, Untitled (6 Panel of 6 Panel Series), 1982

David Wojnarowicz, Untitled (6 Panel of 6 Panel Series), 1982

othermike:

David Wojnarowicz’s Peter Hujar Dreaming/Yukio Mishima: St. Sebastian, 1982.

othermike:

David Wojnarowicz’s Peter Hujar Dreaming/Yukio Mishima: St. Sebastian, 1982.

(Source: ohthatoceanicfeeling)

inhumanblue:

[μόνος/σκοπέω]

inhumanblue:

[μόνος/σκοπέω]

an-overwhelming-question:

Herbert List - Youth with two glasses, 1939

an-overwhelming-question:

Herbert List - Youth with two glasses, 1939



Louis Aragon, 1929

Louis Aragon, 1929

(Source: thestaringvoid)

davidmarinos:

David Marinos - Savior
Instagram / Twitter / Facebook / Flickr

davidmarinos:

David Marinos - Savior

Instagram / Twitter / Facebook Flickr

(via abnormals)

inneroptics:
Stan VanDerBeek, Face Concert (still), 1981

inneroptics:

Stan VanDerBeek, Face Concert (still), 1981
thebeatswitness:

Konstantin Kalynovych, Eclipse, 2009

thebeatswitness:

Konstantin Kalynovych, Eclipse, 2009

art-of-illlustration:

Ethan Murrow, All Mine (detail), 2012

art-of-illlustration:

Ethan Murrow, All Mine (detail), 2012

(via o-g-steve)

artbyjeffreymeyer:

Jeffrey Meyer, Up from Sleep (2011), paper collage, 8 x 9 inches | website.

artbyjeffreymeyer:

Jeffrey Meyer, Up from Sleep (2011), paper collage, 8 x 9 inches | website.

(via truth-is-beauty-and-beauty-truth)

artbyjeffreymeyer:

Jeffrey Meyer, Tomorrow (2012), paper collage, 7 x 9 inches | website.

artbyjeffreymeyer:

Jeffrey Meyer, Tomorrow (2012), paper collage, 7 x 9 inches | website.

bbook:

After spending his early twenties writing film criticism and aspiring to make films of own, Schrader was hovering around Hollywood, unsettled by the films presented to him. What he saw were pictures that “exalted idiosyncrasy and the cult of personality,” focusing on me and not we, highlighting the importance of individuality as a means of understanding oneself on a greater level. However, through his time spent admiring Eames and learning from his work, Schrader came to find a person who exposed him that to the idea that the cult of personality was in fact ephemeral, flowing from one person to the next, uniting humanity with a deeper kind of likeness.
Schrader claims it was that sentiment, combined with the thought that “images are ideas,” which overturned his world. The article he wrote on Eames would be published in Film Quarterly in the Spring of 1970, and was titled “Poetry of Ideas.” The focus was on Eames’ short films created with his wife, Ray, and how they exemplified something entirely unique to the cinematic tradition. Amalgamating science and technology to convey their own means of communication, Schrader said the films possessed a “unified aesthetic with many branch-like manifestations,” and that they had a “cerebral sensibility” seldom seen in the medium.
A Brief Look Back on Paul Schrader and the Man Who Overturned His World, Charles Eames

bbook:

After spending his early twenties writing film criticism and aspiring to make films of own, Schrader was hovering around Hollywood, unsettled by the films presented to him. What he saw were pictures that “exalted idiosyncrasy and the cult of personality,” focusing on me and not we, highlighting the importance of individuality as a means of understanding oneself on a greater level. However, through his time spent admiring Eames and learning from his work, Schrader came to find a person who exposed him that to the idea that the cult of personality was in fact ephemeral, flowing from one person to the next, uniting humanity with a deeper kind of likeness.

Schrader claims it was that sentiment, combined with the thought that “images are ideas,” which overturned his world. The article he wrote on Eames would be published in Film Quarterly in the Spring of 1970, and was titled “Poetry of Ideas.” The focus was on Eames’ short films created with his wife, Ray, and how they exemplified something entirely unique to the cinematic tradition. Amalgamating science and technology to convey their own means of communication, Schrader said the films possessed a “unified aesthetic with many branch-like manifestations,” and that they had a “cerebral sensibility” seldom seen in the medium.

A Brief Look Back on Paul Schrader and the Man Who Overturned His World, Charles Eames

archives-dada:

Theo Van Doesburg, Poster for Dada Matinée, january 1923, printed matter, 62 × 85 cm (24.4 × 33.5 in)

archives-dada:

Theo Van Doesburg, Poster for Dada Matinée, january 1923, printed matter, 62 × 85 cm (24.4 × 33.5 in)

(Source: commons.wikimedia.org, via pappawheelie)

inneroptics:

Ioannis Mandafounis & Fabrice Mazliah by Dominik Mentzos