creativetimereports: When the New Yorker scours National Geographic’s photo archive, fascinating things arise. newyorker: Two border-patrol officers attempt to keep a fugitive in the U.S. in this photo from National Geographic’s archive (Luis Marden/National Geographic). Click through to see more.

creativetimereports:

When the New Yorker scours National Geographic’s photo archive, fascinating things arise.

newyorker:

Two border-patrol officers attempt to keep a fugitive in the U.S. in this photo from National Geographic’s archive (Luis Marden/National Geographic). Click through to see more.

walkerartcenter: Online image culture started here: more than 20 years ago, this poorly photoshopped image—“a homemade promotional shot for Les Horribles Cernettes, a comedy band based at the CERN laboratory near Geneva”—became the first photo uploaded to the Internet. (Via Bruce Sterling).

walkerartcenter:

Online image culture started here: more than 20 years ago, this poorly photoshopped image—“a homemade promotional shot for Les Horribles Cernettes, a comedy band based at the CERN laboratory near Geneva”—became the first photo uploaded to the Internet. (Via Bruce Sterling).

manbartlett: The People’s Table is an ever-shifting collection of images submitted by the internet in response to the question, “What do you value?” To participate, simply tag an image on Twitter or Instagram #table17* and check out thepeoplestable.com. The People’s Table is a commission by The Brooklyn Museum for The Brooklyn Artists Ball and was made possible with generous help from Barry Hoggard (he coded everything).  More information here. *There are 16 table’s at the gala. The 17th is for all the rest of us. ;)

manbartlett:

The People’s Table is an ever-shifting collection of images submitted by the internet in response to the question, “What do you value?” To participate, simply tag an image on Twitter or Instagram #table17* and check out thepeoplestable.com.

The People’s Table is a commission by The Brooklyn Museum for The Brooklyn Artists Ball and was made possible with generous help from Barry Hoggard (he coded everything). 

More information here.

*There are 16 table’s at the gala. The 17th is for all the rest of us. ;)

walkerartcenter:

“There’s always been the argument: Where did punk rock start? Who cares? It’s not where did it start, it’s why did it start? —Bob Mould, 1981

Bob Mould returns to the city where Hüsker Dü began for Rock the Garden 2013. To mark the occasion, we asked journalist (and punk drummer) Jeff Severns Guntzel to dig into the local archives for a look at Mould’s musical, political, and personal roots.

Photos (top to bottom): Hüsker Dü in 1981 or ‘82 (photo: Steve Hengstler, special thanks to Annie Hengstler); printing plate for Hüsker Dü and the band’s early ’80s label, Reflex Records  (photo: Minnesota Historical Society);  Mould backstage at Maverick’s in Boston during Hüsker Dü’s first East Coast trip, 1983 (photo: Kathy Campbell).

NatGeo: In the mountains of northern Laos, a three-year-old Asiatic black bear has become a medical pioneer: the world’s first bear to undergo brain surgery.

NatGeo:

In the mountains of northern Laos, a three-year-old Asiatic black bear has become a medical pioneer: the world’s first bear to undergo brain surgery.

walkerartcenter: RIP Roger Ebert. Pictured: Werner Herzog and Roger Ebert at the Walker Art Center, April 1999 (when Herzog wrote his famed “Minnesota Declaration”)

walkerartcenter:

RIP Roger Ebert.

Pictured: Werner Herzog and Roger Ebert at the Walker Art Center, April 1999 (when Herzog wrote his famed “Minnesota Declaration”)

On Social Media as a Job (at a Museum)

goshkristina:

image

Note: I began this entry between six and eight months ago. I was invigorated, inspired, and felt compelled. As I got to number 4 and its subsequent subsections, I ran out of steam, thinking that I had to get to at least 5, or 8 or 10. Four wasn’t enough to post anything.

But times are changing. My tenure as a professional social media manager is coming to an end on Friday as I embark for the wild desert landscape of Utah for a design fellowship and road tripping and then who knows*? I figured it would be a good time to finish up this brain dump and just let it be that: a brain dump. So what you’re about to read was written at all these different times: some six months ago, some a few weeks ago, and some yesterday. The tense jumps around wildly.

I better note now that all these opinions are my own and do not reflect those of the Walker.

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Artist Richard Jackson: I tend to avoid self-promotion and elude validation as a notable figure in the art community. That whole scene boils down to drinking cheap beer in different locations night after night. Making art by relying on your own resources cuts you out from a crowd that is begging for cash to do anything. Fostering independence in yourself, wherever you are, can be more isolating than working up in the mountains. The capabilities of an individual are what most intrigue me. Corporate activity or work that originates from a collective is not so compelling. This attitude has probably caused me to be sidelined or excluded from key exhibitions. People also tend to think that I am cranky, which is not true. I circumvent dependence on others’ interests and do not screw around waiting for answers. For this reason, very few people have seen most of my work. But—as is typical of the art world—there is so much bullshit swirling around that people get on the phone and describe my work pretending to have seen it or to possess knowledge about how I have made it. Their hyperboles make my projects much larger than I ever could. I purposefully play off of this collective imagination as my output is molded by bigger and bigger fibs.

Artist Richard Jackson:

I tend to avoid self-promotion and elude validation as a notable figure in the art community. That whole scene boils down to drinking cheap beer in different locations night after night. Making art by relying on your own resources cuts you out from a crowd that is begging for cash to do anything. Fostering independence in yourself, wherever you are, can be more isolating than working up in the mountains. The capabilities of an individual are what most intrigue me. Corporate activity or work that originates from a collective is not so compelling. This attitude has probably caused me to be sidelined or excluded from key exhibitions. People also tend to think that I am cranky, which is not true. I circumvent dependence on others’ interests and do not screw around waiting for answers. For this reason, very few people have seen most of my work. But—as is typical of the art world—there is so much bullshit swirling around that people get on the phone and describe my work pretending to have seen it or to possess knowledge about how I have made it. Their hyperboles make my projects much larger than I ever could. I purposefully play off of this collective imagination as my output is molded by bigger and bigger fibs.
motherjones: anniewerner: texasmonthly: “I never thought of marriage as something only for men and women. But I’d never marry a guy I didn’t like.” Willie Nelson on gay marriage, read the whole exclusive interview on texasmonthly.com! #willie #gaymarriage #humanrights Photograph by Gary Miller (at Texas Monthly) Willie Nelson’s marriage equality art!  Total Willie Nelson move.

motherjones:

anniewerner:

texasmonthly:

“I never thought of marriage as something only for men and women. But I’d never marry a guy I didn’t like.” Willie Nelson on gay marriage, read the whole exclusive interview on texasmonthly.com! #willie #gaymarriage #humanrights Photograph by Gary Miller (at Texas Monthly)

Willie Nelson’s marriage equality art! 

Total Willie Nelson move.

Gulliver’s Kingdom, an abandoned amusement park in Japan. More abandonment here.

Gulliver’s Kingdom, an abandoned amusement park in Japan. More abandonment here.

Interview + time-lapse of Job Wouters (aka Letman) creating his hand-painted mural Home at the Walker Art Center.

notational: Stencil in Ame-Mura, Osaka, Japan 2005 (by the pain of fleeting joy)

notational:

Stencil in Ame-Mura, Osaka, Japan 2005 (by the pain of fleeting joy)