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  sfmoma:

  SUBMISSION:

  Hearing for the First Time.  Screenprint. 16” X 16”.  Edition of 3.  2012.

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  hvidt:

  lobby of claridges hotel, london, ca. 1935
  marion dorn 

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  thespockyhorrorpictureshow:

  d-iminished:

  l-umiere:

  nerahsladnuh:

  
  
  Einstein and his therapist. 

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  Mari Andrews

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  efedra:

  Social Problems Within The Art World, 2004 by Bethan Huws

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  jesuisperdu:

  stephen harper

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   This is mine, credit:

  Maryanne Casasanta

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  thejogging:

  Mixing Paint with Filter > Liquify, 2012

  Performance

  ⧗

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  mpdrolet:

  Alexis Vasiliko

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  wowgreat:

  (via Tauba Auerbach)

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  How to Make Electronic Music
  Russell Drake, Ronald Herder & Anne D. Modugno

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  vroomheid:

  AT THE NECK by Junya Watanabe

  Junya Watanabe, like his mentor Rei Kawakubo, is renowned for designing innovative and distinctive clothing. Watanabe is often considered to be a ‘techno couture’ designer, creating unusually structured clothes out of modern, technical materials.

  junya watanabe for comme des garçons
  

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  traceycoffin:

  De Wain Valentine.

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  Daniel Buren

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  thekhooll:

  Highway Picnic !

  Car Free Sunday in connection with the oil boycott - November 4, 1973

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  redruzdigitalsoup:

  Aaron Hegert

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  illdomyscientificbest:

  Wood-fired kiln - Noborigama chamber

  8x10” Silver Gelatin Print

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  mpdrolet:

  Untitled, 2011

  Gary Briechle

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  danielshea:

  Finally Got the News (1970) chronicles the struggle of The League of Revolutionary Black Workers to radicalize and organize the black, working class autoworkers of Detroit in the 70’s. Watch it here. 

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  roxanaazar:

  bobbydoherty:

  Maybe Everything I Do Is About Love

  bobby doherty

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  +

  wanted to add, that these are part of some new work that I’ve had my head in for the past few weeks

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  wockawock:

  Kazuhiro Katase

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  eaedwards:

  Laurie Anderson.  
  
  Anderson photographed men who called to her or whistled her on the street.  In her artist statement she writes about one experience,

  “As I walked along Houston Street with my fully automated Nikon.  I felt armed, ready. I passed a man who muttered ‘Wanna fuck?’  This was standard technique: the female passes and the male strikes at the last possible moment forcing the woman to backtrack if she should dare to object.  I wheeled around, furious. ‘Did you say that?’ He looked around surprised, then defiant ‘Yeah, so what the fuck if I did?’ I raised my Nikon, took aim began to focus.  His eyes darted back and forth, an undercover cop? CLICK.”

  Anderson takes the power from her male pursuers, allowing them nothing more than the momentary fear that their depravity has just been captured in a picture.