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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42 posts tagged art
Wall work, 2006, Alonso Abigail DeTonds, Gucci Scarf, Yellow Gaffa Tape, Dimensions Variable.
“
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
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)
HANS DIETER SCHAAL
INTERSECTION OF PATHS IN A LANDSCAPE, 1970s
intersections, drawing, art
Currently this is my thinking about Performance Art:
I am interested in doing long duration works; longer than a feature film, intersections; where two planned actions cross over and become something new and spontaneous and thirdly the relationship to text; scripting or describing what techniques can be employed to marry action to the word.
Not exactly an art work but in my area of interest. This non performance took place at Gwenan International, curated by Ms. G Davies. At my suggestion Cedric Tai asked people to rate how cool they thought they were on a scale of one to ten and recored the results.
Öyvind Fahlström.
Mike Kelley on Fahlström:
“Since I was in my early twenties, Fahlström has been, and continues to be, one of my favorite artists. In fact, my esteem for his work has continued to grow over the years. The issues raised by his work are more timely than ever, and Fahlström is now happily starting to be recognized for what he was: one of the most important and complex artists of the Sixties. He is a complete original. Until recently, Fahlström was considered a minor player in the drama of Pop Art. Because he allowed the ‘political’ to enter his work, because he was interested in issues of narrative, because his work was compositionally busy, he was perceived by the champions of Pop as somewhat naive at best, and a throwback to Surrealism or Agitprop at worst. His deviation from Pop standards was explained away by the fact that he was ‘European’.”
(via areashape)
