liquidnight:

George Krause
Hand
Mexico, 1965
From George Krause-1

liquidnight:

George Krause

Hand

Mexico, 1965

From George Krause-1




Repetition (37) by Katrien de Blauwer
Also

Repetition (37) by Katrien de Blauwer

Also




Untitled by Jean Rouet, 1960

Untitled by Jean Rouet, 1960




Limbs, Woodland Valley by George Holz, 1998
Also

Limbs, Woodland Valley by George Holz, 1998

Also




vivipiuomeno:

Cats Cradle Cross - Franz Roh ph.

vivipiuomeno:

Cats Cradle Cross - Franz Roh ph.




vivipiuomeno:

Tono Stano ph. 2008

vivipiuomeno:

Tono Stano ph. 2008




Une main brandissant un revolver / Un homme en pardessus et borsalino, de profil, avec son ombre portée sur un mur, brandit un revolver by Roger Parry, 1933-1934




Féminin (7) / Single cuts (15) by Katrien de Blauwer

Also




killerbeesting:

Jacques-Henri Lartigue,  Florette’s Painted Finger, 1940s

killerbeesting:

Jacques-Henri Lartigue,  Florette’s Painted Finger, 1940s




Hans Bellmer, 1953 
Also

Hans Bellmer, 1953 

Also




Leavings / Threat / Phantoms / Landscapes / Threat from the series The World of Feelings and Imaginations by Zofia Rydet, 1970s




kvetchlandia:

Pierre Jahan     Main aux yeux       1947

kvetchlandia:

Pierre Jahan     Main aux yeux       1947




fette:

Left, photograph by Maxime Ballesteros, Deep glance, Ibiza, 2014, from the series Entre Chien et Loup. Right, photograph by Harry Griffin, from the series Convention. Via.
—
I don’t think irony’s meant to synergize with anything as heartfelt as sadness. I think the main function of contemporary irony is to protect the speaker from being interpreted as naive or sentimental.
David Foster Wallace, 1996, from a chatroom exchange. Via. More.

fette:

Left, photograph by Maxime Ballesteros, Deep glance, Ibiza, 2014, from the series Entre Chien et Loup. Right, photograph by Harry Griffin, from the series Convention. Via.

I don’t think irony’s meant to synergize with anything as heartfelt as sadness. I think the main function of contemporary irony is to protect the speaker from being interpreted as naive or sentimental.

David Foster Wallace, 1996, from a chatroom exchange. Via. More.




Untitled by Marlo Pascual, 2012
Also

Untitled by Marlo Pascual, 2012

Also




How To Sleep by Gjon Mili, New York, 1943

1. Model lying on back demonstrating tense breathing that produces rapid chest expansion causing blurred image.

2. Stroboscopic image of model lying on back & dropping arm w. fingers held in tense position during sleep.

3. With forearm tensed model shows tense way of dropping hand.

Also