Peep Nº 18, 28 and 11 by Noé Sendas, 2013

Also




Aktion Sorgenkind, Wien by Gottfried Helnwein, 1972




Untitled by Andrew Lundwall

Untitled by Andrew Lundwall




From How to Photograph Nude Women #3 by Kira Sugiyama, 1953

From How to Photograph Nude Women #3 by Kira Sugiyama, 1953




les-sources-du-nil, antoinedelsolit:

HOTEL NOSTALGIE série 1
by Antoine Delsolit

antoinedelsolit:

HOTEL NOSTALGIE série 1

by Antoine Delsolit




darksilenceinsuburbia:

Franz Falckenhaus. Sofija.

darksilenceinsuburbia:

Franz Falckenhaus. Sofija.




insideflesh:

blackout (I)

insideflesh:

blackout (I)




Dirk Braeckman, 2006

Dirk Braeckman, 2006




regardintemporel:

Almond Chu

regardintemporel:

Almond Chu




John Casado, 2001-2005




João Cutileiro, 1960s-1970s
Also

João Cutileiro, 1960s-1970s

Also




João Cutileiro, 1960s-1970s

João Cutileiro1960s-1970s




No winds or rains caress the moon’s dead face by Paulina Otylie Surys, February 2014
Also

No winds or rains caress the moon’s dead face by Paulina Otylie Surys, February 2014

Also




Loin (28) by Katrien de Blauwer
Also

Loin (28) by Katrien de Blauwer

Also




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.