max richter

a British-based, German-born pianist and composer evokes an almost overwhelming atmosphere of nostalgia and something forlorn in this beautifully recorded instrumental album. Nostalgia, because of the instrumentation (piano, strings, organ, harp, speech), the amount of applied reverberation and the subtle use of ambient sound effects; something forlorn, because of the near exclusive use of minor triad chords.



hella jongerius

Like her peers, Jongerius has goaded modernism out of its effete, minimalist rut, humanizing technology by embracing imperfection and decoration in ways subversive enough to charm the avant-garde but sweet enough for your grandmother. Jongerius describes the Dutch sensibility in general when she calls her approach "form follows feeling."

think thank....

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pastel white

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Adam Silverman and Nader Tehrani
March 22, 2009
MOCA Pacific Design Center
Boolean Valley

Boolean Valley (2008) is a room-sized installation comprised of 400 clay objects glazed in a striking compound of cobalt blue, black and silicon carbide. Together the pieces form a sloping sculptural landscape derived from the principle of "Boolean logic," which calibrates the geometry of intersecting objects.
atwater pottery

toby patterson

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jim hodges

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korner union
folk art. anonymous
drawing by unknow artist

tony feher

Feher's understated use of humble, “forgettable” materials that he finds—bottles, jars, plastic soda crates—turns the commonplace and mundane into work that is rich with human emotion and fragile beauty.

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tom dixon

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stephen parrino

His fetish colours are silver and black – the colours of Harley-Davidson motor bikes, of doomed heavy industry, of guitar amplifiers, of sunglasses, but also of Frank Stella, Warhol and Minimal art, of Kenneth Anger and the Queer underground.




alberto frias

Inspired by the writings and art of James Turrell, the phrase "Perceptual Pod," used to describe the "Transport" is derived from "Perceptual Cell," a term coined by Turrell. The design of the "Transport" also evolved from his research on perceptual psychology and optical illusions. He attributes the concept of the pod as originating from his personal desire to create a place of mediation. "I wanted to experience the similar trance like effect as when listening and watching ocean waves on the beach.”

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5 level sugar glider large bird cage
ebay now!
ivette zighelboim
dead magic bird, 2007
marianne boesky

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when buildings become paintings!

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j paul fennell

In his remarkable book, Art as Experience, John Dewey states: “Because objects of art are expressive, they are a "language.” The making of art effectively communicates to the world just who you are, what your interests focus upon, your reverence for things, your experiences, and the relative importance of each to yourself. These creations are a “language” that everyone can understand. The body of work, if it is expressive, is due as it has been said, to the connection you make between the visual world as you see it, and your inner self--that is, your experiences in this world. In my view, this “connection” cannot be constrained by employing only one aspect of the medium without limiting the expressiveness of the work itself.

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Monique Prieto

I woke up this morning thinking of these paintings as if they appeared in my dreams last nite. The two last images are from 1995, and they still resonate with me. Her work has always put my mind at ease, and I appreciate them even more. These are paintings that need to be seen in person to be fully appreciated.

The first two images are from recent shows at ACME. 10 years later.

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more illumination

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lamps in rooms.

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martin creed


Creed's work is often a small intervention in the world, making use of existing materials or situations rather than bringing new material into the world. Creed feels that there is enough 'stuff' in the world already and he is not sure he should be adding to it.




To me it’s emotional. Aye. To me that’s the starting point. I mean, I do it because I want to make something. I think that’s a desire, you know, or a need. I think that I recognise that I want to make something, and so I try to make something. But then you get to thinking about it and that’s where the problems start because you can’t help thinking about it, wondering whether it’s good or bad. But to me it’s emotional more than anything else.

I don't know what I want to say, but, to try to say something, I think I want to try to think. I want to try to see what I think. I think trying is a big part of it, I think thinking is a big part of it, and I think wanting is a big part of it, but saying it is difficult, and I find saying trying and nearly always wanting.

I want what I want to say to go without saying.

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