Zweistromland / Land of Two Rivers
installation, mixed media, 1985-1989
[…] Throughout his career Kiefer was a maker of books, one-of-a-kind works like medieval manuscripts. His most monumental expression of this interest is “The High Priestess/Zweistromland/Land of Two Rivers”. This sculpture consists of two bookcases (labeled after the rivers Tigris and Euphrates) containing about two hundred lead books, all on a superhuman scale. Some of the books were blank; others contained such things as obscure photographs of clouds or dried peas. It was a many layered work dealing with the artifacts of knowledge. […] *
Just sitting in a bar in Liverpool and listened to a conversation about how some new girl that was hired isn’t very pretty. they said she was gonna be pretty but she isn’t.
Fucking hell man.
So anyway wanted to write a little about Under-estimate the Girl. Seems like people have gone…
So much respect… eloquent words from a talented, original, self aware and ever-growing human being.
Weapon of Mass Instruction
Built from a welded frame atop a 1979 Ford Falcon, Raul Lemesoff drives around the streets of Buenos Aires distributing free books to anybody who wants to be assaulted with some serious learnin’.
(via: make / laughingsquid)
(via fuckyeahbookarts)
Kate Heart has put together an array of charts breaking down the covers of 2011’s Young Adult fiction.
fantastic
git init
"There are the occasions that men—intellectual men, clever men, engaged men—insist on playing devil’s advocate, desirous of a debate on some aspect of feminist theory or reproductive rights or some other subject generally filed under the heading: Women’s Issues. These intellectual, clever, engaged men want to endlessly probe my argument for weaknesses, want to wrestle over details, want to argue just for fun—and they wonder, these intellectual, clever, engaged men, why my voice keeps raising and why my face is flushed and why, after an hour of fighting my corner, hot tears burn the corners of my eyes. Why do you have to take this stuff so personally? ask the intellectual, clever, and engaged men, who have never considered that the content of the abstract exercise that’s so much fun for them is the stuff of my life."
—
Melissa McEwan, of course, on the terrible bargain. My life as a woman, as a queer person, as a fat person, is not your thought experiment. (via sanitywatchers)
This really struck a chord. Even my boyfriend, feminist that he is, can have this reaction when I’m in tears after an NPR story. This is my fucking life. Excuse me if I can’t remove the personal.
(via curiousgeorgiana)
I reblogged this before, but I like it a lot so I’m reblogging it again.
This whole thing is the reason why confrontations with people that I consider friends always leaves me crying. Like, I get so angry and so flustered because it’s not just some stupid game to me, like it is to them. It’s something that’s real and personal.
(via liquidiousfleshbag)
Aaaaaand reblogged for every single man I’ve ever known.
(via michelleshock)
(via 1234stuff)
exhibit-e’s web brochure is a book. like, a publication-ready scholarly tome with references and a glossary. industry leader? check and mate.
via buckt:
(via artinablender)
uh, yes please.
(Source: alanajoy, via prettybooks)
Six Tips on Writing from John Steinbeck
- Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
- Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
- Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
- If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
- Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
- If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
(via artinablender)
