lauramcphee:

from Les chats de Willy Ronis, Paris, 1954 (Willy Ronis) via liquidnight

lauramcphee:

from Les chats de Willy Ronis, Paris, 1954 (Willy Ronis) via liquidnight




Un Drame by Joseph Apoux, 1890s (from Reveries Fantastiques)

Un Drame by Joseph Apoux, 1890s (from Reveries Fantastiques)




Cuts You Up ‐ Peter Murphy

hoodoothatvoodoosnackajawea:

Peter Murphy- Cuts You Up




rrosehobart, geisterseher:

Cover detail from L’Oeil de la police (1908).

rrosehobartgeisterseher:

Cover detail from L’Oeil de la police (1908).




Study for Georges Bataille’s L’Histoire de l’oeil by Hans Bellmer, 1946
(via spectrumvivace, mkultradiscipline)

Study for Georges Bataille’s L’Histoire de l’oeil by Hans Bellmer, 1946

(via spectrumvivacemkultradiscipline)




realityayslum:

{ Pavel Titovich, 2011 }

realityayslum:

Pavel Titovich, 2011 }




Nu - superposition by Judy Coleman, 1989

Nu - superposition by Judy Coleman, 1989




billyjane:

Untitled [Mannequin by Sonia Mossé] by Gaston Paris [another view here] 
from 1938 Surrealist Exhibition in Paris

billyjane:

Untitled [Mannequin by Sonia Mossé] by Gaston Paris [another view here]

from 1938 Surrealist Exhibition in Paris




“…beauty is the projection of ugliness and by developing certain monstrosities we obtain the purest ornaments.” — Jean Genet, Miracle of the Rose


The Beyond (Lucio Fulci, 1981)
(via nosex)

The Beyond (Lucio Fulci, 1981)

(via nosex)




I usually try to avoid reblogging stuff sans source, but this is a nun.  
(via todf, slipagge)

I usually try to avoid reblogging stuff sans source, but this isnun.  

(via todfslipagge)




frenchtwist:
Cyberwoman 5 by Helmut Newton, 2000Also

frenchtwist:

Cyberwoman 5 by Helmut Newton, 2000

Also



hoodoothatvoodoo:

Irina Ionesco, Fafa, 1968

hoodoothatvoodoo:

Irina Ionesco, Fafa, 1968




lauramcphee:

30th April 1949, Lens magazine, Unknown Model (via jeanjeanie61)

http://fotki.yandex.ru

lauramcphee:

30th April 1949, Lens magazine, Unknown Model (via jeanjeanie61)

http://fotki.yandex.ru




lamelancoly:

X, 1982

photo by john hilliard

this set of pictures was arranged to be explained or spoken into existence over a finite moment or two. in the first picture a man and a woman face each other in  darkened room, each holding a lighted torch. the man, who is opening a door, appears reflected in a mirror. the second pairing is of the same two seen over a longer time span which allows you to follow their responses. she, for instance, appears to have lowered her arm but she is still focusing on the man’s spectacled face, while his torch beam has moved down her exposed body. was the move instinctive, or has it been choreographed? the picture is called X after the fall of the light on the first pairing. the pattern it makes is point, line, line, point or dot, dash, dash, dot — X in morse code.

after all, this is photography and photography originally meant writing with light — and writing entails spelling, too.