Wood engraving from ‘Vignettes’ (1827) by Thomas Bewick.
From ‘Advertisements for Architecture’ (1976-77) by Bernard Tschumi.
Tschumi illustrated several of his early theoretical texts with Advertisements for Architecture, a series of postcard-sized juxtapositions of words and images. Each was a manifesto of sorts, confronting the dissociation between the immediacy of spatial experience and the analytical definition of theoretical concepts.
Letter from cartoonist Alfred Joseph Frueh to his wife Giuliette Fanciulli, sent on Jan. 10th, 1913.
The letter opens up to form a model of a gallery hung with paintings. Frueh made this model to inform his wife about the details of a specific art gallery before her visit.
Collection of the Smithsonian Archives of American Art.
Snapped in New York on the roof of the Marceau Studio on Fifth Avenue, by a group of photographers working for the Byron Company, this picture is one of the first selfies in history, made in 1920. (via)
Ruth Ewan, ‘We Could Have Been Anything That We Wanted To Be’, Folkestone Triennial (2011)
On 5 October 1793 the recently formed Republic of France abandoned the Gregorian calendar in favour of an entirely new model, the French Republican Calendar, which became the official calendar of France for 13 years. Each day of the Republican Calendar was made up of 10 hours. Each hour was divided into 100 minutes and each minute into 100 seconds. Inspired by this historical model, Ewan created new clocks and altered existing ones around the town of Folkestone, Kent to tell decimal time.
‘The Battle of Orgreave’ (2001) by Jeremy Deller.
A large scale performance re-enacting a confrontation between the police and striking miners from the 1984–85 miners strike.