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Happy birthday to Ai Weiwei!
sfmoma: From our conservation department’s artist materials archive: color swatches with paint descriptions for David Cannon Dashiell’s monumental mural, “Queer Mysteries.” 
artandopinion: Six O’Clock, Winter 1912 John French Sloan
Context-free Patent Art Art from people who aren’t artists, randomly culled from a wealth of video game-related patents.
cavetocanvas: Kenneth Noland, Oakum, 1970 From the National Gallery of Australia: Between 1967 and 1970 Noland worked on a body of horizontally striped, rectangular paintings, completing more than two hundred. He had begun using this format earlier, while still exploring the variations in his series of diamond-shaped canvases (1964-67). These early horizontal striped paintings were long and thin and loosely painted with the brush. By the time this type of painting became Noland’s main concern, in 1967, he took on assistants for the first time and began using masking tape to give precision to the stripes. The usual procedure was to staple a length of canvas to the floor, paint on the stripes using tape to guide the edges of each line, then crop the canvas to an appropriate size. By 1967 the paintings had become wider and often the stirpes were arranged around bare canvas. The colours were varied in the early stripes but tended to be restricted in the works after 1968. Made in 1970 in the artist’s studio at South Shaftesbury, Vermont, Oakum was one of the last of this type of painting. In an interview in 1971 Noland mentioned that he liked ‘that edge between water and land’, something that plans the notion of landscape into his horizontal stripe paintings; the title Oakum refers to the compound of loose fibre made of old rope used in caulking the planking of boats.
rvlvr: mmm-maisonmartinmargiela: Maison Martin Margiela for L’ATELIER d’exercices Les portes « trompe-l’œil » (“Trompe- l’œil” doors). Line 13. Photography: Julien Oppenheim Series of black and white prints. A “typically haussmannian” door is printed life size on adhesive fabric that can be repositioned several times. Would like this print
cavetocanvas: Jenny Holzer, Selections from Truisms, Inflammatory Essays, The Living Series, The Survival Series, Under a Rock, Laments, and Child Text, 1991 From the Boston Museum of Fine Arts: In 1977 Holzer created Truisms, her first all-text compositions. She typed “one-liners,” had them printed commercially, and pasted them up as posters on the street. Later, Holzer placed her words on such familiar, ubiquitous objects as LED signs, T-shirts, and stickers. Variously insightful, hostile, or comic, these words and phrases express multiple viewpoints and arouse multiple responses. As the artist intended, numerous people have read her words and been amused, challenged, or provoked. In 1990 the Museum of Fine Arts commissioned Holzer to create this LED sign for the collection. The artist chose to include excerpts from seven different series created between 1977 and 1990, each selection appearing in a different typeface and format. The words stream at varying speeds, and the tone is constantly changing-aggressive to mild, authoritative to questioning, practical to fear inducing. The result is a blend of familiarity and confusion that puts Holzer’s artwork squarely in the modern age of advertising slogans, newspaper headlines, and sound bites. “In a dream you saw a way to survive, and you were full of joy”
cavetocanvas: Jenny Holzer, Protect Me From What I Want, 1983-85 cc: Harold