"Sarsfield is short, though you wouldn’t notice at a distance. He has long, slim features and talks with well-articulated confidence. He’s thin, dresses in black, and wears a sinister smile. He looks like a poet." — Mosaic Collective
I’m really happy for my friends at Tumblr. You’ve made an amazing platform that has made it easy for me to express myself and find cool people, I am grateful. As always I am excited to see what’s coming next. Thanks for letting me use your office as my place to pee in NYC.
I’m with William. David, Peter, Dominic— everybody at tumble. Congratulations!
Meili & Peter & Gunther Vogt - Park Hyatt Hotel, Zurich 2008. A series of large, marble blocks sit in a grid like formation that references the building facade. Subtle convex and concave shifts in the surface of each individual piece ensures that the frequent rain-water evaporates in specific ways, creating a constantly changing hue and reflective pattern in the courtyard. An adjacent courtyard accomplishes a similar effect with plantings. Via, photos (C) Georg Aerni.
“The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking brandy while she painted and scraped away at her vision.
First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door.
At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”