Bern Roche Farrelly -etcetera

et·cet·er·a   [et-set-er-uh, ‐se-truh]
–noun, plural -er·as.
1.
a number of other things or persons unspecified.
2.
etceteras, extras or sundries.

{Notes, sketches & extras relating to the work of Bern Roche Farrelly, artist.}

www.bernrochefarrelly.com

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48 posts tagged art

Visual Ques for Koe, main character in  playing in   April 8-12. Nod to

Images of ‘The Narrator’ for my Theater piece #Determine playing this April as art of NOW14 @yardtheatre

Visual Notes for #Determine @Yardtheatre this April part of #NOW14

Rediscovering Potato Print for Head Grammar show at Transition Gallery in March.

Paul McCarthy spits at you from inside his early Black and White video works, at The Space in Hackney.

Scene from Macbeth 1988

by William Shakespeare
stage, costumes and make-up: Gottfried Helnwein
Choreographisches Theater, Hans Kresnik

Wall work, 2006, Alonso Abigail DeTonds, Gucci Scarf, Yellow Gaffa Tape, Dimensions Variable.

These associations, Tino Sehgal, Tate Turbine Hall, 2012


Jenny Holzer

Jenny Holzer

(via exposednipple)


Once, in 1946, while still an adolescent, I was to sign my name on the other side of the sky during a fantastic “realistico-imaginary” journey. That day, as I lay stretched upon the beach of Nice, I began to feel hatred for birds which flew back and forth across my blue, cloudless sky, because they tried to bore holes in my greatest and most beautiful work.

Birds must be eliminated.

The Chelsea Hotel Manifesto by Yves Klien

shoulderblades:

trademarks, vito acconci, 1970
sitting in front of a camera, acconci performed a series of contorted poses and bit into his arms, legs and shoulders, resulting in impressions of his teeth left on his skin. he then covered these marks with printers ink and used them to stamp various surfaces, illustrating the bodies attack on itself while also criticizing the social institutions of art and the economy.

shoulderblades:

trademarks, vito acconci, 1970

sitting in front of a camera, acconci performed a series of contorted poses and bit into his arms, legs and shoulders, resulting in impressions of his teeth left on his skin. he then covered these marks with printers ink and used them to stamp various surfaces, illustrating the bodies attack on itself while also criticizing the social institutions of art and the economy.

(via mkultradisciplined)

Phase Four of Sitting, Five Panels, 1968, Öyvind Fahlström.

J G Ballard. Preliminary work for Appendecicitis

betonbabe:

HANS DIETER SCHAAL

INTERSECTION OF PATHS IN A LANDSCAPE, 1970s

intersections, drawing, art

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