#vsf

[sheisbeautyweareworldass]

this gotta be one of the most cultural tone-deaf things i’ve ever read - specially coming from a gringa who who has lived in brazil for a decade

first of, the “sending the kids home earlier” isn’t about the staff watching the matches, it’s about everyone. world cup culture in brazil is huge - yes, even after 2014. it’s about meeting your friends and family, going to bars, someone else’s house or any public space and watching the match together. it’s, as it’s in most latinoamerican countries, about the community. sending kids home to watch the game isn’t about the school staff taking half a day off, it’s about the staff being able to feel the football atmosphere at home, with their families. it’s about doing the same for kids - going home earlier so they can be with their siblings, parents and grandparents (most of who will else be home earlier) and enjoy the next 2 hours or so together. it’s about bonding and community and it’s quite depressing a journalist can’t see that.

second, this woman is british… anyone from a place that puts everything on hold for a fucking coffin should be forbidden to talk about other countries’ days off.

third: vai embora então 👩‍❤️‍💋‍👩

[geniousbh]

[hansolsticio]

o SEUNGKWAN... eu vou me m****??????????

[thebrigantia]

eu gostaria de saber quem são as 5 vadias que não me seguem de volta vou matar vocês

[longlistshort]

Currently at VSF LA are Sarah Ippolito’s new colorful sculptures inspired by aquatic creatures for her exhibition Liquid Realm.

From the gallery-

The ocean is what makes the earth habitable, without the ocean life is not possible, “in a way we’re all sea creatures” – Sylvia Earle

Los Angeles-based Ippolito’s exuberantly biomorphic sculptures are inspired by time spent underwater, immersed in contemplation of the umwelt of aquatic creatures and the central role of the oceans in the health and wellbeing of people and our planet. Divided between the &Milk project space and the VSF courtyard, Ippolito’s exhibition considers the differing sensory environments and inhabitants of the sunlit shallows and the expansive open ocean. While the ocean covers more than 70% of the planet’s surface and contains roughly 97% of Earth’s biosphere, life underwater and the nature of the ocean often feels alien. Ippolito’s works bring some of this vibrancy and abundance onto dry land.

Color and texture are central to Ippolito’s work – her sculptures are recognizable not only for their uncanny and whimsical shapes, but for her use of bright color, evocative texture, and shifts in scale. For Ippolito, color expresses exuberance, optimism, and vitality. Intricate and tactile textured surfaces are dynamic and invite curiosity and engagement. Scale is used as a way to disrupt expected hierarchies, the viewer may feel they have been shrunk or the forms they look at magnified; each scale relationship impacts the experience of her body in space and in relationship to others. Scale is also a key in our relationship to the ocean – In its vastness, the ocean feels as unknowable as outer space and yet, somehow, it is also as familiar as our own backyards. The lively nature of Ippolito’s work is underscored by the use of active verbs in the titles for all of her new works: Filtering, Undulating, and Fanning their names describe the range of movement implied by their forms.

In the courtyard, Ippolito presents her first cast bronze sculpture. Standing at just about the same height as the artist, the form blends shapes and textures from a Salp spiral (phylum Chordata) and the tentacles of Portuguese man o’ war (phylum Cnidaria.) Both “creatures” are colonies of individual organisms. The bold cobalt-blue figure stands erect, its tentacles meandering and sensing its surroundings. Nearby an installation of hand-formed ceramic shapes represents a bloom of Phytoplankton – tiny single celled organisms that drift in the upper layer of the ocean using photosynthesis to transform carbon dioxide into oxygen. The word “plankton” comes from the Greek word for “drifter” or “wanderer.” It’s estimated that roughly 50% of the oxygen on Earth is produced by oceanic phytoplankton. Phytoplankton are the primary producers of the ocean – offering food for a range of organisms from small filter feeders like salps to massive whale sharks. Phytoplankton also play a crucial role in regulating the atmosphere in the biological carbon pump – absorbing carbon dioxide at the surface and as they die they sink to the bottom (marine snow) and sequester carbon in the deep ocean. The forms in this piece are inspired by the most abundant types of phytoplankton – the diatoms, dinoflagellates, green algae, cyanobacteria, and coccolithophores.

In &Milk a group of table-top scaled works and a large figural work inspired by a range of creatures from the phylum Cnidaria (sea anemones, jellyfish, coral, sea fans) and phylum Annelida (feather duster and tube worms) are on view. These are some of the earliest life forms to evolve on the planet after phytoplankton transformed the atmosphere of the Earth to one hospitable for animal life – appearing between about 635 million and 515 million years ago, they have survived 5 mass extinctions. Abounding with color, these animals are sometimes naturally pigmented or get their distinctive coloration from symbiotic algae that live in their tissues. They possess a unique form of intelligence; operating without a brain and sometimes with rudimentary eyes. With their flexible tentacles that are sensitive to the slightest touch and vibrations they reach into the open water to filter feed plankton or capture small prey.

By reimagining marine organisms and their adaptations, Ippolito invites viewers to explore the hidden wonders of our oceans and consider the interconnectedness of all life. Her creative practice, rooted in direct observation and scientific exploration, embodies the potential of art to spark environmental reflection. In a world where the health of our oceans is increasingly vital, Ippolito’s work reminds us of our deep connection to the vast liquid realm that defines our planet.

This exhibition closes 10/19/24.

[ldh0000]

novamente a discussao do canada ser ou nao na america, mas agora um update, tao preparadas??? veio de uma brasileira 😩

[kyuala]

tumblr se vc fosse um app bom qual vc seria

[verysharpfish]

Accosting my work team with facts about Boats because it tangentially came up

[danonhe]

ai mas eu... deveria ser eu... o meu foi melhor... o meu é pior... uma vez eu... eu avisei, eu estava certa... ai so eu que não me importo com isso?... se não for do meu jeito, não vai rolar... CHATA DO CARALHO NEM TUDO E SOBRE VOCE

[redfilds]

odeio matemática odeio odeio odeio não sei nem fazer uma conta de dividir odeio odeio odeio

[blackribbonswithcoal]

a pessoa vir me cobrar de coisa q nem ela faz tendo oportunidades muito melhores q eu é brincadeira viu

[fantasmagorico]

BRASIL LEVANTA PORRA QUE MERDA É ESSA

[yayaallegrinha]

Eu fui sentar lá fora da casa do meu padrasto tudo show

Aí eu tiro o coiso de onde tem aranha

A PORRA DE UMA VIUVA NEGRA

Não tem registros de FALSAS viúvas negras na região

Enfim eu tô feliz q eu vi uma pela primeira vez Mas nem tive coragem de tirar foto nem nada pra literalmente não ARRISCAR MINHA VIDA?!?!?!

Edit: queria mt tirar foto pra colocar no inaturalist ia ser foda.

Enfim eu falei e ele falou

"ah pelo menos ela come todo tipo de inseto :D"

bom....... real....né?

[longlistshort]

VSF gallery is currently showing The Harrisons’ Survival Piece #1: Air, Earth, Water, Interface: Annual Hog Pasture Mix, 1970-1971, part of The Getty’s Pacific Standard Time: Art & Science Collide.

On Thursday, 10/17, a local pig will enter the grow box to turn over the pasture in an iteration of the 2012 performance that took place at The Geffen Contemporary at MoCA.

From the gallery-

The first in their visionary series of Survival Pieces, “Hog Pasture,” as it is known by Harrison’s fans, emerged from a direct dialog with the most visionary and boundary pushing artists of the late 1960’s and early 1970’s. The impact of the Earth Day movement and the nascent cultural awareness that human beings were rapidly depleting the planet’s natural resources ignited a deep and sincere conversation within the art world about the stakes of art-making in the post-war, post-1968 world.

While later survival pieces highlighted a culminating harvest feast, Survival Piece #1 is focused on growth. The rectangular form of the raised planter bed and the grid of grow lights above echo sculptural innovations by artists like Dan Flavin, Donald Judd, and Richard Morris;  however, Newton Harrison had by this time decided that a sculpture or a painting was not enough. His artwork needed to not only have a moral purpose, it needed to strive to restore the earth and protect the abundant future of humans on our planet.

In 1971, shortly after their first foray into ecological art, Making Earth (which VSF exhibited earlier this year at Frieze LA and is now in the collection of the Los Angeles County Museum of Art) Newton and Helen heard from David Antin that Virginia Gunter at the MFA Boston was curating a show titled Earth, Air, Fire, and Water: Elements of Art and wanted to include their work alongside contemporaries including Robert Smithson, Michael Heizer, Hans Haacke, and others. Exploring ideas of growth and change, Gunter’s vision for the exhibition was meant to challenge conservative, formalist, Greenbergian ideas about art as well as expectations of the museum as an institution that primarily collected unchanging pictures and objects that somehow articulated the best ideas and techniques of the time in which they were made.

Interested in building on his use of artificial lights, Newton decided that he should actually grow something. He commissioned one of his painting students to look through seed catalogs to find a mixture that was “totally singular,” eventually landing on R.H. Shumway Seedsman’s Annual Hog Pasture Mix. In Boston, a large raised planter bed was built in a basement gallery of the museum, agricultural grow lights were installed in a parallel grid from the ceiling, a potent mix of manure, compost, worm castings, and other rich grow media were added to the planter bed, the seed mix was added, and a small pasture grew there with alarming speed. While Gunter wouldn’t allow a hog to come and graze the original hog pasture, subsequent exhibitions of the work, including Ends of the Earth: Land Art to 1974 curated by Miwon Kwon and Phillip Kaiser at MoCA in 2012, have brought the work to its natural conclusion and invited a pig in to enjoy the rich, velvety mix of legumes and grasses. Similarly, VSF has invited a hog to harvest the indoor meadow during the exhibition’s closing ceremony on October 17, 2024. The remaining pasture, earthworms, and soil mix will be gifted to visitors. We hope that you will join us while our porcine guest enjoys the first survival piece feast envisioned by Helen and Newton Harrison.

[deardiarycaotico]

Eu só queria socar e rasgar algo, quebrar pratos e gritar até explodir, de tanta raiva que eu tô sentindo, por não aguentar mais essa vida de MERDA que estou vivendo.

[verysharpfish]

I wish my dad had named a database management system after me, wouldn't that be sick