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Henrik Purienne
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from THE DISAPPEARANCE APPROACH by SUSAN HOWE
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The new IC Lights collection by Cypriot and London-based designer Michael Anastassiades for Flos.
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Robert Deblander, Saint Amand en Puisaye
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Robert Mangold – 1/3 Gray-Green Curved Area, 1966, photo credits Guggenheim Museum
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Pair of ‘Meander’ Sconces by Cesare Casati & Emanuele Ponzi for Raak 1970s
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László Moholy-Nagy, Segments of a Circle, 1971
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Chris Steele-Perkins. Chad. Southern Sahara. Racetrack. 1985.
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Cy Twombly, Souvenir d'Arros, 1990
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RENATE BERTLMANN
“AMO ERGO SUM – A SUBVERSIVE POLITICAL PROGRAM”
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Ellsworth Kelly - Oak Tree Leaf.
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at Centennial Park Conservatory
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arthur tress 1979
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In many ‘Spaghetti Western’ films, a broad sub-genre of American Western films that emerged during the 1960s in the midst of Sergio Leone’s film-making success, many of the vuglar roles Native Americans were hired to act in forced them into offensive portrayals with little attention paid to authenticity, with emphasis only placed on painting them as “simple savages.” As a result, many American filmmakers paid little attention to actually translating the indigenous languages for what they were saying on screen. As a result, many actors were able to say what they really felt.
Reel Injun, Documentary (2009)
Love this…
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Lynda Benglis, Platinum Fan, 1980
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It takes me a little time to find the right images for this feed, but I don’t forget: @groupcircle
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Lola Álvarez Bravo
Los almiares (Haystacks), ~1940 -
@miachristiana shot by @kourtneyofthesea for @objectswithoutmeaning 💫 (at Objects Without Meaning Concept Store)
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same
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Dan Simmons, Hyperion
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Hand Shaped Pendant, Olmec, 1500/0300 - Blue-green translucent jade
The Museum of Fine Arts, Houston
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assasanta
