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  membrane:

  Walter De Maria / Mile Long Drawing / 1968.
  

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  yellowfeather84:

  Patti Smith // “Im going to promote myself exactly as I am, with all my weak points and my strong ones. My weak points are that I’m self-conscious and often insecure, and my strong point is that I don’t feel any shame about it.”

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  flashofgod:

  Abbas Attar, Students of the Al Azhar college in Jakarta attend Friday prayer in the auditorium, Indonesia, 1989.

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  treebystream:

  Robert Ryman, Untitled, 1957

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  talapishka:

  An Inuit man warms his wife’s feet. Greenland, 1880—1890s. Photographer Robert E. Peary / National Geographic
  

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  schu-schu:

  90s fashion irving penn vogue 90s comme des garcons 1992 aw 93

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  nemfrog:

  Outline of the cross-section of the radar cloud at 5000 feet. Thunderstorm. 1949. 

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  vkntmoodboard:

  Helena Almeida

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  endilletante:

  Pierre Verger, “Le messager / the go-between” : photographies 1932-1962, ed. Revue Noire, 1993.

  Bolivia, 1946.

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  vjeranski:

  Alex Katz

  
  Sunset: Lake Wesserunsett 1, 1972
  Screenprint in five colors
  30 x 36 inches

  Sunset: Lake Wesserunsett 2, 1972
  Screenprint in five colors
  30 x 36 inches

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  lamignonette:

  @camilafalquez
  

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  lamignonette:

  Per Brandin, American (20th century), 1979 Cafeteria, Brookhaven National Lab, Harvard Art Museum
  

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  planths:

  Edipo re (Oedipus Rex), Pier Paolo Pasolini, 1967

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  huni——–sofia:

  Ramón Masats

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  fotojournalismus:

  Wainwright, Alaska, 1955.

  Photo by Jean-Philippe Charbonnier
  

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  commonmusings:

  Martin Barré, 61-T-12. 1961. Oil on canvas.
  

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  ozu-teapot:

  A Taste of Honey | Tony Richardson | 1961

  Rita Tushingham

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  thinkingimages:

  “There are your fog people & your sun people, he said. I said I wasn’t sure which kind I was. He nodded. Fog’ll do that to you, he said.” -Brian Andreas
  

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  vkntmoodboard:

  Helena Almeida (Lisboa, Portugal, 1934)
  

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  imnothinginparticular:

  Progress means simplifying, not complicating.
  - Bruno Munari

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  heathwest:

  Superstudio
  The Continuous Monument, 1969

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  apeninacoquinete:

  Bernard Plossu, Moroccan Palm, 1975

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  inland-delta:

  Félix Vallotton, Washerwomen at Etretat, 1899

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  damirdoma:

  Inspiration: Christo & Jeanne-Claude, Wrapped Trees, 1998.

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  deathandmysticism:

  Mapuche medicine women treating a patient, Chile, early 20th century

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  mashatupitsyn:

  womanhouse:

  ( a ) Deleuze, The Logic of Sense, 1969
  ( b ) Moten & Harney, The Undercommons: Fugitive Planning and Black Study, 2013

  Avital Ronell, Derrida, and Nancy all talk about the ethical debt we are indebted to. The debt that can never be paid off. That endows us to one another. Also, there is nothng more important that Deleuze’s statement on ethics. Which is about readiness. And answering a call. I have referred to this quote for many years. It is my bedrock.

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  poetryconcrete:

  Ice house, photo by Lynn Davis, 2001, in Iran.

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  lonelywomyn:

  standingatthefence:

  MISCEGENATED FAMILY ALBUM

  photo-installation 1980/94, Lorraine O’Grady , Cibachrome prints

  “Attention to framing, both literal and metaphorical, is key to understanding Conceptual artist Lorraine O'Grady’s 1980/1994 photographic installation Miscegenated Family Album. On first glance, the work’s pairing of family photos with ancient statues of Nefertiti seems an elaborate and fantastic way to establish royal lineage, but this family album has little to do with genealogy. Instead it is a subtle recounting of O'Grady’s strained relationship with her older sister, Devonia, a rift that was not resolved before Devonia’s untimely death at 37. O'Grady finds a striking parallel between her sister and Nefertiti, who disappeared in her late thirties, leaving behind six children and her younger sister Mutnedjmet. All the images in the album are scaled identically, eliminating hierarchy and reinforcing a poetic link between the two families.”

   -Alexander Gray Associates (New York) 2008 
  

  this is so beautiful