Die Sequenz
Per una successione è rilevante l'ordine in cui gli oggetti si trovano e uno stesso oggetto può comparire più volte
I needed
Surgically, patiently, said the monster

hamachacha:

The rain came down
The rain came down
The rain came down on me.

The wind blew strong
The summer song
Fades to memory

I knew you when
I loved you then
The summer’s young and helpless.

You laid me bare
You marked me there
The promises we made.

I used to think
As birds take wing
They sing through life so why can’t we?
You cling to this
You claim the best
If this is what you’re offering
I’ll take the rain
I’ll take the rain
I’ll take the rain.

The nighttime creases
Summer schemes
And stretches out to stay.
The sun shines down
You came around
You love easy days.

But now the sun,
The winter’s come.
I wanted just to say
That if I hold
I’d hope you’d fold Open up inside, inside of me.

I used to think
As birds take wing
They sing through life so why can’t we?
You cling to this
You claim the best
If this is what you’re offering
I’ll take the rain
I’ll take the rain
I’ll take the rain.

This winter song
I’ll sing along
I’ve searched its still refrain
I’ll walk alone
I’ve given this, take wing
Celebrate the rain.

I used to think
As birds take wing
They sing through life so why can’t we?
You cling to this
You claim the best
If this is what you’re offering
I’ll take the rain
I’ll take the rain
I’ll take the rain.

jesuisperdu:

towerofsleep:

Artists by row, top to bottom: Lucien Smith, Oscar Murillo, Parker Ito, Wade Guyton, Jacob Kassay, Lucien Smith. Courtesy of the Internet.
Print Issue 17 Pullout: Who’s Afraid of the New Abstraction? | SFAQ Online

For this reason all the critics who simply allow the market to dictate the terms of the conversation become willful participants in the silencing of political activity and discourse, they essentially let the wealthy few who benefit from the market win by accepting their terms as the terms of the conversation. Meanwhile they continue to write pallid defenses of the now empty and academic gestures of third, fourth, fifth generation neo-conceptual, performance, and installation art that finds sanction only within academies and institutions. An issue that is equally problematic, in my eyes. It cannot be so simple an equation as market interest in a certain kind of art means that it is inherently suspect. In certain ways the market may be more visible, vocal, and active than before, but again this has to do with larger socio-economic issues that have, with time, inevitably entered the orbit of art, than the “quality” of the work being produced at the moment. When Jerry Saltz asks, “why does so much new abstraction look the same?” I respond by asking “why does so much art, period, look the same today?” What are the larger systems that allow for an unprecedentedly large number of artists to share some part of the spotlight and to produce work that emerges from a similar set of precedents, deals with a similar set of issues and, yes, bears superficial formal similarities. A pious refusal of money, which I would point out is not even necessarily a possibility on the part of these young artists who have found their production quite literally annexed by speculators (save full-fledged dropping out of the system, and even then I’m not so sure since artists have concluded production on several of the bodies of work that, at one time or another, drew the interest of speculators), and the work has continued to be traded back and forth, often resulting in market ignorance of the subsequent work made by these artists.


die already. we need more color and less #impotentgestures
Mephistopheles. Er fällt! Es ist vollbracht.
Chor. Es ist vorbei!
Mephistopheles. Vorbei! Ein dummes Wort. […] Es ist so gut, als wär es nicht gewesen […].

— Faust - W. Goethe
perché i treni sono incessanti e infernali e perché il vento sembra vento di morte, e perché la vita è la vita (e l’amore è l’amore), ma nessuno ha detto che fosse facile. pensai: “per alcuni va tutto bene”.
— martin amis | la freccia del tempo (via analogset)
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