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lalanguedesoiseaux:

Film still, Game, 1976
James Nares


Piet Mondrian, posing for the phrenologist Alfred Waldenburg, 1909.

"This striking portrait photograph of 1909 is a document that Piet Mondrian (1872-1944) kept all his life. The picture was long thought to show Mondrian meditating or practising yoga, and to reflect his interest in theosophy. However, recent research by Lien Heyting has revealed that there is a different explanation for the artist’s bizarre stance: Mondrian was in fact posing for the phrenologist (‘skull measurer’) Alfred Waldenburg (1873-1942). Waldenburg believed that a person’s character and natural abilities were determined by the relative size of certain areas of the brain. According to him, there was a link between the length of the hands and the shape and size of the cranium; this photograph therefore seems to make some kind of point about Mondrian’s artistic talent." (source)
mapsinchoate:

16th century indigenous map of Mexico, detail. * (via appendixjournal)
Lucas Cranach der Ältere, Venus via vorzheva
Helena Almeida, © Helena Almeida. “Desenho”, 1999 via sala 17
mirbeau:

Alfred Stieglitz – Rebecca Strand, 1923
teethascompass:

Skin with Frank O’Hara Poem | 1963 | Jasper Johns

Dennis and Erik Oppenheim, 1971

A Feed-back Situation
“I originate movement which Erik translates and returns to me. What I get in return is my movement fed through his sensory system.”
2-State Transfer Drawing Dennis to Erik Oppenheim
“As I run a marker along Erik’s back he attempts to duplicate the movement on the wall. My activity stimulates a kinetic response from his sensory system. I am, therefore, drawing through him…Because Erik is my offspring and we share similar biological ingredients, his back (as surface) can be seen as an immature version of my own. In a sense, I make contact with a past state.”
2-State Transfer Drawing Erik to Dennis Oppenheim
“As Erik runs a marker along my back I attempt to duplicate the movement on the wall. His activity stimulates a kinetic response from my sensory system. He is, therefore, drawing through me…Because Erik is my offspring and we share similar biological ingredients, my back (as surface) can be seen as an mature version of his own. In a sense, he contacts a future state.”

From Dennis Oppenheim: Retrospective de l’oeuvre/works 1967-1977, Musee D’Art Contemporain, Montreal, 1978 (via)
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