CAMERON WU

"All images are Rorschach tests."

Françoise Mouly, art editor of the New Yorker, on art, specifically the magazine’s covers, at last night’s event at Greenlight Bookstore. (via largeheartedboy)

(via austinkleon)

Solar Eclipse, May 20th, 2012.

(Source: fyeahuniverse, via annicity)

Robert Ryman, Surface Veil III, 1971

From the Guggenheim:

Throughout his career, Robert Ryman has attempted to eliminate illusionism and outside references from his work, focusing instead on the fundamental properties of the materials he employs. He has confined himself to the color white, yet disclaims its importance. “It was never my intention to make white paintings,” he insisted in a 1986 interview with critic Nancy Grimes. “And it still isn’t… . The white is just a means of exposing other elements of the painting.” These “other elements” include varieties of paint (oil and acrylic) and supports (canvas, paper, and metals), as well as the process of binding them. He investigates the properties of these elements methodically, yet responds spontaneously to the unpredictable exigencies caused by their interaction.

(via cavetocanvas)

hifructosemag:

Scott Hazard creates photographic and text sculptures that develop two dimensions into three dimensional constructs. Hazard’s goal with these photographic sculptures and font filled landscapes is to capture the viewer within the pieces. As Hazard says, “looking into them creates an atmosphere of in-betweenness which helps frame the small extractions and resonances of the world featured in each work.” Hazard relates his work to visual poetry and feels that once the viewer roams into his work with their eyes viewing becomes a tactile experience. Scott lives and works in Raleigh, North Carolina. - Zach Tutor

(via bokehuynh)

cavetocanvas:

David Smith, Cubi XXVII, 1965

From the Guggenheim:

Smith completed 28 works in his last series of monumental abstract structures, the Cubis, before his death in May 1965. These celebrated sculptures were composed from a repertoire of geometric cubes and cylinders of varying proportions. All of the Cubis are made of stainless steel, which Smith burnished to a highly reflective surface. He told critic Thomas Hess, “I made them and I polished them in such a way that on a dull day they take on a dull blue, or the color of the sky in the late afternoon sun, the glow, golden like the rays, the colors of nature.”

Some of the Cubis are vaguely figural, while others, such as Cubi XXVII, suggest architecture. This example is one of three Cubis usually referred to as “Gates” (although Smith called them “arches”), which rise like giant rudimentary doorways framing a central void. By counterbalancing a cylinder that appears to rest precariously on edge with two small tilted blocks that look equally unstable, Smith emphasized the potential energy captured through the welding technique. The artist activated the surface of the structure through the curling traces left by the polishing process, creating, in his words, “a structure that can face the sun and hold its own against the blaze and the power.”

Jacob Patterson:

There has been just one being in the history of everything that has lived on this planet that is capable of rational or introspective thought. One being that can observe conditions and logically predict their outcomes through the discourse of research and analyzation. Just one. Every other form of nature relies on some form of instinct to continue its existence.

But instead of using this progressive power of introspection to wisely observe our situation and come up with plots for the future and solutions to current problems, we mostly do something which is the opposite of progression: we search for meaning to justify what is happening to us.

Creatives do this perhaps more often than any, but I would say that a vast majority of people live within the cage of fear that requires use of introspection to justify their condition. It’s damn hard to escape that fear and to escape a search for useless meaning, but we are all capable of it. Meaning has its place in your life but only where you choose to define it.

Source: http://jacobpatterson.tumblr.com/post/22614256046/the-plight-of-the-human-condition

Intertwined between the intimacy of Lindsey Stirling’s meandering strings and the addicting, tantalizing bass lines of the accompanying dubstep background lies a certain harmony that is both tender and intense at its core. Nonstop (under the YouTube username “WHZGUD2”) echoes this principle in his form and movements, narrating a tale in which the unconventional combination of musical genres is seemingly unsure if its self. Caught between two styles that could very well be polar opposites, Nonstop does a spectacular job of conveying that tenuous moment of wavering indecision.

Once more unto the breach, dear friends, once more

Monday, April 30th—it begins again.

"The long silences need to be loved, perhaps
more than the words
which arrive
to describe them
in time."

Franz Wright, from “Home Remedy”

(Source: the-final-sentence)

Hiatus

I apologize for the lack of new content over the past few months. I’ve been trying to sort out a few things in my life, but rest assured, as I’ll be back in a few weeks.

Until then, see you, Space Cowboy.

(+1 for you if you get the reference.)