JPG

mianoti:

Anne Gilman, Interference II, detail

…Merci, workman

(via thegameofart)

telepathicbeelzebuth:

Claude Cahun (aka Lucy Schwob) - I.O.U. (Self-Pride, 1929 1930)

(via thegameofart)

lapetitecole:

Facing London (by zdenek-lesovsky)

slak:

Santa Fe, 1983 - Bernard Plossu

(via journalofanobody)

yama-bato:

Bernard PLOSSU

“Rancho de Taos,

Nouveau Mexique, 1978”

Tirage argentique

24cm x 30cm

(via journalofanobody)

anotherafrica:

Bernard Plossu, Agades, Niger, 1975
© Bernard Plossu - Courtesy Galerie Le Réverbère / Lyon
Exhibitor : Le Réverb

Paris Photo celebrates African photography Nov 10 - 13. Read more

(via journalofanobody)

(Source: radiolegs, via journalofanobody)

contemporary-art-blog:

Anish Kapoor artist indian born british artist, Hive, 2009
Contemporary-Art-Blog

The President of the United States of Groove pictured here with his mother, Ann.

(via feear)

humanscalecities:

Exporting totalitarian architecture to the rest of the world

And finally, showcasing Nazi architecture was not limited to Germany. When the International Exposition Dedicated to Art and Technology in Modern Life was held in 1937 in Paris, the two most prominent pavilions were those belonging to Germany and the Soviet Union, which were located directly across from each other. With a height of 500 feet, the Nazi pavilion designed by Albert Speer, was topped with a tower displaying a gigantic swastika and eagle, symbols of National Socialism. 

Like the Zeppelinfield in Nuremburg, at night Speer used floodlights to illuminate the structure. The pavilion’s purpose was to showcase German pride and the strength of Nazi Germany as a bulwark against Communism, symbolized by the Soviet pavilion directly opposite.