recycle bin

cnoonr:


andromeda, oil on canvas, 50x50cm, 2013

Finger The Galaxy

cnoonr:

andromeda, oil on canvas, 50x50cm, 2013

Finger The Galaxy

(Source: jahjoma, via vicforprez)

nevver:

Pattern recognition, Lukasz Wierzbowski

nevver:

It’s what’s for dinner, Peter Kaaden

(Source: peterkaaden.com)

(Source: liberatingreality, via vicforprez)

nevver:

Every week is Shark week, Christopher Schulz

insuh:

Ellis - my Coney Island lolita

At 17 year old she is the 2nd youngest model in my flower series.  I love this set because as crowded as it was at Coney Island when we were there it looks like the world is revolving around her in the pictures.

http://www.facebook.com/insuhyoon

her insta: ellis.clare 

my IG: insuh4

insuh:

A real Lolita

insuh:

A real Lolita

fairytalesfor20somethings:

I just started teaching with BookUp, National Book Foundation's non-profit that puts writers into after school and summer programs to basically just have fun with reading. It is the coolest thing ever.

I had my first session with the soon-to-be fifth graders at the Cross Island YMCA in Hollis, Queens, on Tuesday. I read some fairy tales from Alice in Tumblr-land and gave the group a sneak peak behind my super-secret writing process. Then they came up with these kickass fairy tales!

(Shivery!)

Modern street photographers are fluttering, intrusive, yet vaguely stealthy creatures who live on edge in quizzical search of imagery they cannot foresee. They have reason to be nervous, for they work in a chaotic zone of ephemeral “targets” that may be reluctant to appear in an unannounced view, or else are endowed with a speedy, unsettling talent for vanishing from it. But this visual quarry teases not simply because it is disobedient and elusive. The conditions of the field are more bothersome than that, for the motifs presented by the photographer cannot be said to have existed before, and they do not endure after they have been wrought from light in the precise configurations we later come to know. (…)


Underlying street photography is a naturalist argument that goes something like this: The value of the picture resides in its truthful observation. This value is jeopardized to the extent the photographer intervenes in the social circumstances, causing a rupture from what would naturally have happened. The natural is defined as a mélange of urban events contingent upon each other, and therefore inherently effervescent and unpredictable. There can be no record of such action unless the photographer is committed to techniques of furtive and opportune surveillance whose goals cannot easily be rationalized. No wonder street photographers are often solitary, and always professional strangers with little to say about their indefinite motives. Still, their overall approach is conceptually articulate, because in practice it integrates the moral goal of credibility, the philosophical notion of contingency and the professional requirement of freedom and spontaneity, each impossible to realize without engaging with the others.

—    Max Kozloff “A Way of Seeing and the Act of Touching: Helen Levitt’s Photographs of The Forties” in Observations: Essays on Documentary Photography (1984)

(Source: greatleapsideways)