1. 20 Mar


     

  2. 10 Mar


    surrealism: Poèm Objet by André Breton, 1935. Collage of object and inscribed poem on card on wood. From the National Galleries of Scotland: Breton’s personal contribution to surrealist art was his fusion of poetry and object in his ‘Poème-Objet’ constructions. Although not an artist himself, he was eager to explore any technique that required minimum artistic skill, such as the collages and assemblages. In 1924, Breton called for the creation of objects seen in dreams. He made about a dozen of his own assemblages in the 1930s and early 1940s, calling them ‘Poème-Objets’. The text on the plaster egg in this work translates as ‘I see / I imagine’ and the poem beneath is deliberately cryptic.1 The poem reads: A l’intersection de lignes de force invisibles Trouver Le point de chant vers quoi les arbres se font la courte échelle L’épine de silence Qui veut que le seigneur des navires livre au vent son panache de chiens bleus (At the intersection of invisible lines of force To find The focal pont towards which trees give each other a leg up The thorn of silence That wants the lord of the ships to give the winds its panache of blue dogs) Curator’s Note: The poem was produced through automatism. It’s not “deliberately cryptic” per se; rather, it’s a confluence of consciousness. ↩

    surrealism:

    Poèm Objet by André Breton, 1935. Collage of object and inscribed poem on card on wood.

    From the National Galleries of Scotland:

    Breton’s personal contribution to surrealist art was his fusion of poetry and object in his ‘Poème-Objet’ constructions. Although not an artist himself, he was eager to explore any technique that required minimum artistic skill, such as the collages and assemblages. In 1924, Breton called for the creation of objects seen in dreams. He made about a dozen of his own assemblages in the 1930s and early 1940s, calling them ‘Poème-Objets’. The text on the plaster egg in this work translates as ‘I see / I imagine’ and the poem beneath is deliberately cryptic.1

    The poem reads:

    A l’intersection de lignes de force invisibles
    Trouver
    Le point de chant vers quoi les arbres se font la courte échelle
    L’épine de silence
    Qui veut que le seigneur des navires livre au vent son panache de chiens bleus

    (At the intersection of invisible lines of force
    To find
    The focal pont towards which trees give each other a leg up
    The thorn of silence
    That wants the lord of the ships to give the winds its panache of blue dogs)

    1. Curator’s Note: The poem was produced through automatism. It’s not “deliberately cryptic” per se; rather, it’s a confluence of consciousness. ↩

     

  3. 7 Mar


     

  4. 7 Mar


     

  5. 7 Mar


    spider

    spider

     

  6. 6 Mar



    “I would like the work to be non-work. This means that it would find its way beyond my preconceptions.

    What I want of my art I can eventually find. The work must go beyond this.

    It is my main concern to go beyond what I know and what I can know.

    The formal principles are understandable and understood.

    It is the unknown quantity from which and where I want to go.

    As a thing, an object, it accedes to its non-logical self.

    In its simplistic stand it achieves its own identity.

    It is something, it is nothing.”

    Eva Hesse 1968

     

  7. 6 Mar


    theartisticreview:

    Massimo Bartolini: ‘Studio Matters +1’
    The Fruitmarket Gallery, Edinburgh.

    Sourced from The Fruitmarket Gallery, Edinburgh.

    (Source: fruitmarket.co.uk, via )

     

  8. 6 Mar


    jordanmunro1: 24th January 5pm, The Beehive Inn, 18-20 Grassmarket, Edinburgh EH1 2JU

    jordanmunro1:

    24th January 5pm, The Beehive Inn, 18-20 Grassmarket, Edinburgh EH1 2JU

     

  9. 6 Mar


    umbrella jellyfish

    umbrella jellyfish

     

  10. 6 Mar


    Louis Vuitton Autumn/Winter 2013-2014 READY-TO-WEAR

    Louis Vuitton Autumn/Winter 2013-2014 READY-TO-WEAR

     

  11. 6 Mar


     

  12. 6 Mar


    jordanpilling: ¡FELLACIAO!  EDINBURGH COLLEGE OF ART SCULPTURE COURT 2 PART EXHIBITION BY 2ND + 3RD YR SCULPTURE 

    jordanpilling:

    ¡FELLACIAO! 

    EDINBURGH COLLEGE OF ART SCULPTURE COURT

    2 PART EXHIBITION BY 2ND + 3RD YR SCULPTURE 

     

  13. 16 Feb


    lucyemacdonald: Robert Smithson’s - A Heap of Language.

    lucyemacdonald:

    Robert Smithson’s - A Heap of Language.

     

  14. 16 Feb


    laura-rathbandfad: Tania KovatsOceans Get involved Sculpture artist Tania Kovats asks for public participation for her new art piece which will be shown at the Fruitmarket Gallery, Edinburgh, in November. Kovat’s work which has has recently featured at the Fruitmarket Gallery at the Galapagos exhibition and at Jupiter Artlands (“Rivers”), is influenced a great deal by nature. Like her “Rivers” piece, the latest one involves having many samples of water from all over the worlds, this time it’s Oceans. Here’s some info on how to take part: http://tania-kovats-oceans.com/

    laura-rathbandfad:

    Tania Kovats
    Oceans

    Get involved

    Sculpture artist Tania Kovats asks for public participation for her new art piece which will be shown at the Fruitmarket Gallery, Edinburgh, in November.

    Kovat’s work which has has recently featured at the Fruitmarket Gallery at the Galapagos exhibition and at Jupiter Artlands (“Rivers”), is influenced a great deal by nature.
    Like her “Rivers” piece, the latest one involves having many samples of water from all over the worlds, this time it’s Oceans.

    Here’s some info on how to take part:

    http://tania-kovats-oceans.com/

     

  15. 16 Feb


    drawingreferences2013: Poetics of Space (“Untitled (Stairs)”, Rachel Whiteread, 2001)

    drawingreferences2013:

    Poetics of Space (“Untitled (Stairs)”, Rachel Whiteread, 2001)