per·i·pa·tet·i·cal·ly

Aug 29

Baby heirloom tomato and bell pepper salad to be tossed with homemade champagne parmesan vinaigrette (dan kluger’s recipe from abc kitchen) yum.

Baby heirloom tomato and bell pepper salad to be tossed with homemade champagne parmesan vinaigrette (dan kluger’s recipe from abc kitchen) yum.

Aug 20

Wish you were here…

Wish you were here…

Aug 13

fig trees grow in brooklyn! a colleague of mine has a two story fig tree outside of his house in brooklyn. he can pick figs from his bedroom window - a gallon a day! insanely tasty.

fig trees grow in brooklyn! a colleague of mine has a two story fig tree outside of his house in brooklyn. he can pick figs from his bedroom window - a gallon a day! insanely tasty.

tulletulle: Look at it. Look at your current bag. Look at it. Look at your current bag. Don’t you want to cry?

tulletulle:

Look at it. Look at your current bag. Look at it. Look at your current bag.

Don’t you want to cry?

Aug 01

I would love this yigal azrouel coat for the fall/winter. You cant see from the photo but the ruching on the sides is great. Too bad it costs $1875. Maybe I will play the lottery tonight..

I would love this yigal azrouel coat for the fall/winter. You cant see from the photo but the ruching on the sides is great. Too bad it costs $1875. Maybe I will play the lottery tonight..

Jul 29

my agency, razorfish, is working with charity: water to promote the born in september campaign to bring clean water to the bayaka people in Central African Republic. Here is the charity: water photo of the day for July 29th. via charity: water The first well funded by the first @Twestival was drilled in April 2009 the village of Mai Nebri, Ethiopia. Why water? It changes everything. Learn more here.

my agency, razorfish, is working with charity: water to promote the born in september campaign to bring clean water to the bayaka people in Central African Republic. Here is the charity: water photo of the day for July 29th.

via charity: water

The first well funded by the first @Twestival was drilled in April 2009 the village of Mai Nebri, Ethiopia.

Why water? It changes everything. Learn more here.

Jul 12

(via -thesaltskin)

(via -thesaltskin)

photo via the Sartorialist on July 8, 2010

photo via the Sartorialist on July 8, 2010

Jun 19

Oh hey, Erie. View from my window this morning. Green is my favorite color!

Oh hey, Erie. View from my window this morning. Green is my favorite color!

Jun 02

RIP Louise Bourgeois. You were truly a living legend. tulletulle: missworld: onlyondemairt: louise bourgeois, the french-born american artist who gained fame only late in a long career, when her psychologically charged abstract sculptures, drawings and prints had a galvanizing effect on the work of younger artists, particularly women, died on monday in manhattan, where she lived. she was 98.ms. bourgeois’s sculptures in wood, steel, stone and cast rubber, often organic in form and sexually explicit, emotionally aggressive yet witty, covered many stylistic bases. but from first to last they shared a set of repeated themes centered on the human body and its need for nurture and protection in a frightening world.protection often translated into images of shelter or home. a gouged lump of cast bronze, for example, suggested an animal’s lair. a table-like wooden structure with thin, stilt-like legs resembled a house ever threatening to topple. her series of “cells” from the early 1990s — installations of old doors, windows, steel fencing and found objects — were meant to be evocations of her childhood, which she claimed as the psychic source of her art.but it was her images of the body itself, sensual but grotesque, fragmented, often sexually ambiguous, that proved especially memorable. in some cases the body took the abstract form of an upright wooden pole, pierced by a few holes and stuck with nails; in others it appeared as a pair of women’s hands realistically carved in marble and lying, palms open, on a massive stone base.in an art world where women had been treated as second-class citizens and were discouraged from dealing with overtly sexual subject matter, she quickly assumed an emblematic presence. her work was read by many as an assertive feminist statement, her career as an example of perseverance in the face of neglect.ms. bourgeois often spoke of pain as the subject of her art, and fear: fear of the grip of the past, of the uncertainty of the future, of loss in the present.“the subject of pain is the business i am in,” she said. “to give meaning and shape to frustration and suffering.” she added: “the existence of pain cannot be denied. i propose no remedies or excuses.” yet it was her gift for universalizing her interior life as a complex spectrum of sensations that made her art so affecting.she often spoke of her early, emotionally conflicted family life as formative. her practical and affectionate mother, who was an invalid, was a positive influence. her father’s domineering disposition, as well as his marital infidelities (he had a 10-year affair with the children’s english governess), instilled a resentment and an insecurity that ms. bourgeois never laid to rest.“i have a religious temperament,” ms. bourgeois, a professed atheist, said about the emotional and spiritual energy that she poured into her work. “i have not been educated to use it. i’m afraid of power. it makes me nervous. in real life, i identify with the victim. that’s why i went into art.”— an excert of louise bourgeois, influential sculptor, dies at 98, new york times, 2010 

RIP Louise Bourgeois. You were truly a living legend.

tulletulle:

missworld:

onlyondemairt:

louise bourgeois, the french-born american artist who gained fame only late in a long career, when her psychologically charged abstract sculptures, drawings and prints had a galvanizing effect on the work of younger artists, particularly women, died on monday in manhattan, where she lived. she was 98.

ms. bourgeois’s sculptures in wood, steel, stone and cast rubber, often organic in form and sexually explicit, emotionally aggressive yet witty, covered many stylistic bases. but from first to last they shared a set of repeated themes centered on the human body and its need for nurture and protection in a frightening world.

protection often translated into images of shelter or home. a gouged lump of cast bronze, for example, suggested an animal’s lair. a table-like wooden structure with thin, stilt-like legs resembled a house ever threatening to topple. her series of “cells” from the early 1990s — installations of old doors, windows, steel fencing and found objects — were meant to be evocations of her childhood, which she claimed as the psychic source of her art.

but it was her images of the body itself, sensual but grotesque, fragmented, often sexually ambiguous, that proved especially memorable. in some cases the body took the abstract form of an upright wooden pole, pierced by a few holes and stuck with nails; in others it appeared as a pair of women’s hands realistically carved in marble and lying, palms open, on a massive stone base.

in an art world where women had been treated as second-class citizens and were discouraged from dealing with overtly sexual subject matter, she quickly assumed an emblematic presence. her work was read by many as an assertive feminist statement, her career as an example of perseverance in the face of neglect.

ms. bourgeois often spoke of pain as the subject of her art, and fear: fear of the grip of the past, of the uncertainty of the future, of loss in the present.

“the subject of pain is the business i am in,” she said. “to give meaning and shape to frustration and suffering.” she added: “the existence of pain cannot be denied. i propose no remedies or excuses.” yet it was her gift for universalizing her interior life as a complex spectrum of sensations that made her art so affecting.

she often spoke of her early, emotionally conflicted family life as formative. her practical and affectionate mother, who was an invalid, was a positive influence. her father’s domineering disposition, as well as his marital infidelities (he had a 10-year affair with the children’s english governess), instilled a resentment and an insecurity that ms. bourgeois never laid to rest.

“i have a religious temperament,” ms. bourgeois, a professed atheist, said about the emotional and spiritual energy that she poured into her work. “i have not been educated to use it. i’m afraid of power. it makes me nervous. in real life, i identify with the victim. that’s why i went into art.”

— an excert of louise bourgeois, influential sculptor, dies at 98, new york times, 2010