Works by Claude Rutault at Galerie Perrotin, including de-finition/method #447. “full-length self-portrait” (2011):
“An oval canvas 168 x 110 cm (661/4 x 431/4 inches) is placed 50 cm (193/4 inches) in front of the wall. the canvas is non-painted. it is connected to the wall by a fine metal wire attached to its upper half. it is also attached to the floor.a second oval canvas, 33 x 22 cm (13 x 83/4 inches), is hung by its left side to the wall 60 cm (231/2 inches) from the floor, and is painted the same color as the wall.
The large canvas is shown face-out as long as the artist is alive, and will be turned to face the wall when he dies.”
Necklaces/brooch by Edgar Mosa via Current Obsession:
“‘Trees are like people – you never know when they’re gonna slap you in the face.’ That is quite straightforward; every kind of relationship requires interest, dosage of character, and a lot of labor. . . . I have been talking to trees for a while now and it is not always that we understand each other. Relationships in life, with places, people and mirrors, are just like that.”
ALSO: Lovely work table details.
Porcelain beads by Manon van Kouswijk via Klimt02/White Heat.
Oh, my heart: “Point Break” by Maxine Gambus for Éditions du livre.
Cast resin, concrete and pieces of trash by Amy Brener via Art and Science Journal:
“Totemic structures of an imagined future.”
Images in milliseconds of the first atomic bomb test via Rudy Godinez/Nuclear Weapon Archive. ALSO: Jacques Hymans’ writing in Foreign Affairs on “failed” nuclear programs:
“This was probably one of the most expensive undertakings in the history of mankind in terms of dollars spent to material produced.”
Painted hydrocal and burlap and mesh, by Stacy Fisher.
Perfection: handwoven wool textiles by Amy Revier, made into jackets.
From top: Tomelloso, Ciudad Real (1960) by Ramón Masats; Hermès menswear F/W 2012; Maison Rabih Kayrouz at Farfetch.