Yesterdays Magnum Opus'

Warhol, Race Riot, 1963

Thu, 05 Apr 2012 06:16:40 -0400

Warhol, Race Riot, 1963

Van Gogh, The Sower, 1888

Tue, 27 Mar 2012 05:38:38 -0400

Van Gogh, The Sower, 1888

Van Gogh, The Night Café, 1888

Tue, 27 Mar 2012 05:36:02 -0400

Van Gogh, The Night Café, 1888

Saar, Liberation of Aunt Jemima, 1972

Tue, 27 Mar 2012 05:35:42 -0400

Saar, Liberation of Aunt Jemima, 1972

Saar, Inheritance, 2003

Tue, 27 Mar 2012 05:35:28 -0400

Saar, Inheritance, 2003

Rivera, Man, Controller of the Universe, 1934

Tue, 27 Mar 2012 05:35:03 -0400

Rivera, Man, Controller of the Universe, 1934

Picasso, Guernica, 1937

Tue, 27 Mar 2012 05:34:34 -0400

Picasso, Guernica, 1937

Picasso, Demoiselles d’Avignon, 1907

Tue, 27 Mar 2012 05:34:15 -0400

Picasso, Demoiselles d’Avignon, 1907

Matisse, Harmony in Red, 1908

Tue, 27 Mar 2012 05:34:10 -0400

Matisse, Harmony in Red, 1908

Nolde, The Prophet, 1912

Tue, 27 Mar 2012 05:33:38 -0400

Nolde, The Prophet, 1912

Kahlo, The Two Fridas, 1939

Tue, 27 Mar 2012 05:32:31 -0400

Kahlo, The Two Fridas, 1939

Gauguin, Where Do We Come From? What Are We? Where Are We...

Tue, 27 Mar 2012 05:31:46 -0400

Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1898

Duchamp, Fountain, 1917

Tue, 27 Mar 2012 05:31:19 -0400

Duchamp, Fountain, 1917

Dalí, The Persistence of Memory, 1931

Tue, 27 Mar 2012 05:30:42 -0400

Dalí, The Persistence of Memory, 1931

Duchamp, L.H.O.O.Q. 1919

Tue, 27 Mar 2012 02:24:36 -0400

Duchamp, L.H.O.O.Q. 1919

Ernst, Forest and Dove, 1927

Tue, 27 Mar 2012 02:22:25 -0400

Ernst, Forest and Dove, 1927

Vincent van Gogh, The Starry Night, 1889

Tue, 27 Mar 2012 02:18:18 -0400

Vincent van Gogh, The Starry Night, 1889

Paul Gauguin, Day of the God (Mahana no Atua), 1894

Tue, 27 Mar 2012 02:15:26 -0400

Paul Gauguin, Day of the God (Mahana no Atua), 1894

It seems that Barthes is very enamored by the idea of being in...

Thu, 15 Mar 2012 04:11:00 -0400

It seems that Barthes is very enamored by the idea of being in the moment. Although he states specially that a picture is not a moment in time, he tends to get caught up in the moment and enjoy the fact that the moment was captured and not the actual message. He doesn’t seem to see pictures based on the idea, the purpose, or cause, but based solely on the presentation and the gestures that are represented in the picture. Seeing a picture like Wessing’s Nicaragua clearly show’s a scene of political and cultural stress, yet Barthes focuses more on the composition, feeling and emotion, than on the fact that the people in the picture were experiencing a very gruesome civil war that divided people, communities, and families.

Nadar, The Photographer’s Wife, 1890

Wed, 14 Mar 2012 02:22:22 -0400

Nadar, The Photographer’s Wife, 1890