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  pederost:

  Andrew Wyeth - Wind from the Sea (1947)

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  dontpostme:

  Phase of Nothingness - Cloth and Stone, 1970/1994
  
  Nobuo Sekine

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  mpdrolet:

  From Armistice

  Emma Le Doyen

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  thinkingimages:

  Michael Berman

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  spaceplasma:

  Sunstruck images by  Apollo 17.

  Credit: NASA
  

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  etceterablog:

  Mel Bochner
  1966

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  graphicporn:

  Josef Albers (Untitled, 1976)

  (via Black Heart Press)

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  goodmemory:

  Double figurine composed of the fore-quarters of facing cervids Bronze Iran in the Iron Age (14th–mid-6th century BC) and during the Neo-Elamite dynasties

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  histocol:

  Alberto MAGNELLI - Untitled - 1949

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  historicaltimes:

  “Theresie, three-year-old daughter of Erkuaktok , a Pelly Bay Inuk, standing next to a snowman carved by her father”, 1951

  marquis_of_chaos:

  Library and Archives of Canada.

  Credit: Richard Harrington / Library and Archives Canada / PA-176251 Restrictions on use: This photograph may be reproduced for research or private use.

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  jesuisperdu:

  allison ginsberg

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  smalljoke:

  by maryannecasasanta

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  aroseisaroseisarose:

  sherrie Levine, Untitled (Broad Stripes 8, 4 and 12), 1985

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  archiveofaffinities:

  Isamu Noguchi, Jomon, 1963-1964

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  justanothermasterpiece:

  Cy Twombly.

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  nearlya:

  Shi Zhiying

  from Sea Sutra series, 2012, oil on canvas

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  blushingcheekymonkey:

  max ernst - untitled (painted stone sculpture, 1935)

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  criterioncollection:

  Beautiful.

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  jesuisperdu:

  piero manzoni

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  jpegheaven:

  Kaye Blegvard.

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  gacougnol:

  Alexander Rodtchenko
  Technology (collage)
  1919-20

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  aubreylstallard:

  Ilya Grigorievich Chashnik

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  huldrapress:

  Pair of Ivory Clappers in Form of Human Hands, Egypt

  via Brooklyn Museum

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  rudygodinez:

  Charles Eames, Do Nothing Machine, (1959)

  In the late 1950’s, the Eames office created a solar toy. This toy was unique in many ways; but the most unique aspect (particularly in light of the way things seem to be done today) was the fact that Charles Eames was interested in creating a toy that did nothing. in terms of “doing nothing” he didn’t mean that it would be a static and mute object, rather, he was interested in an object that didn’t direct one towards specific answers (or in the case of the work of a designer, towards a specific “use”). It followed an ideology found in much of his work, where the power of play is valued as an experience that can be quite powerful in and of itself, and where a sense of wonder can lead to a depth of thought and an expansive understanding.
  

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  gamall:

  Yayoi Kusama Nets In The Night (2007)

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