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  screenshottery:

  GPOY
  
  Comizi D’Amore (1965, Pier Paolo Pasolini, dir.)
  

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  birdasaurus:

  Agnes Choi

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  torontodesign:

  spaceship earth

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  retentionalfinitude2:

  “It is easy to see the beginnings of things, and harder to see the ends.” –Joan Didion, Slouching Towards Bethlehem
  

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  berndwuersching:

  Eric Snell
  Burnt Wood Wall Drawing, 1985
  250 cm ø
  
  

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  zonkout:

  David Sellers, Tack House, 1965-81, Prickly Mountain, Warren, Virginia
  

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  killeds:

  Yohji Yamamoto S/S 2009 / Doru Covrig “Hands”

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  tomorrowcomesomedayblog:

  A pair of art students climb on the bronze sculpture, 1975
  

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  le-flaneur-visuel:

  The Man Who Left His Will on Film, Nagisa Oshima (1970)
  

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  ryandonato:

  Dennis Oppenheim, Two Stage Transfer Drawing

  As I run a marker along Eric’s s back he attempts to duplicate the movement on the wall. My activity stimulates a kinetic response from his sensory system. I am, therefore, Drawing Through Him.

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  leonmarie:

  peindre une fleur en marchant,

  vase céramique, corde,
  

  2017 

  Léon 

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  izvoru:

  ph-tom johnson_l’uomo vogue.jpg
  

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  ambitionzazastylist:

  Bianca Jagger. 1974. 

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  robertogreco:

  Air Made Visible, Bruno Munari

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  sentimental-obsessions:

  alwaysjudging

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  sentimental-obsessions:

  Grace Coddington

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  arterialtrees:

  andy goldsworthy

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  wankelmuth:

  flight of starlings

  Brandenburg, 2018
  

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  thinkingimages:

  Jonathan LLense
  

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  garadinervi:

  Kathy Jull / Graphic Services, University of Waterloo, Canadian Issues. Canada and the Sea, Association for Canadian Studies, 1980 [Canada Modern Archive]

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  sideeffectsinclude:

  Susan Sontag, As Consciousness Is Harnessed to Flesh: Journals and Notebooks, 1964-1980

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  izvoru:

  carlo di dio_fw18.jpg
  

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  linfigue:

  @v_q_z insta story