(my father's hands, but smaller)

All of the people I am, was, and aspire to be, together, on one page.
[Flash 9 is required to listen to audio.]
Bright Eyes

—Weather Reports

fleur-escent:

Weather Reports // Bright Eyes

Well, I left my baby, for a dream as lovely, for a love that’s only in books I’ve read.

cavetocanvas: Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965 One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)

cavetocanvas:

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965

One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)

(via epistomology)

I am never anywhere that I say I am.

This has all been a cover-up.

chichininja: This photo was taken by Nick Vreeland of New York’s infamous Bill Cunningham in the 1980s. The milliner turned street-style photographer, poses on one of his 28 triumphant and reliable Schwinn bicycles that have been his primary source of transportation for work over the duration of his photography career.  Bill’s eye for fashion is nothing new. He has been taking street fashion photographs for well over 30 years and has been the feature fashion news photographer for the New York Times for just as long. His vision and wit predicted fashion’s future, long before it was internationally recognized. There now exist countless street fashion columns in newspapers and magazines and the street fashion bloggers have some of the largest followings in the online community. It was through Bill’s photographs and spreads for the New York Times that this genre of photography really took a hold. And it’s not only the public who’s taken note. Anna Wintour is one of many in awe of the photographer, “I have said many times that we all get dressed for Bill. He’s been documenting me ever since I was a kid. And it’s one snap, two snaps or he ignores you, which is death.”

chichininja:

This photo was taken by Nick Vreeland of New York’s infamous Bill Cunningham in the 1980s. The milliner turned street-style photographer, poses on one of his 28 triumphant and reliable Schwinn bicycles that have been his primary source of transportation for work over the duration of his photography career.  Bill’s eye for fashion is nothing new. He has been taking street fashion photographs for well over 30 years and has been the feature fashion news photographer for the New York Times for just as long.

His vision and wit predicted fashion’s future, long before it was internationally recognized. There now exist countless street fashion columns in newspapers and magazines and the street fashion bloggers have some of the largest followings in the online community. It was through Bill’s photographs and spreads for the New York Times that this genre of photography really took a hold. And it’s not only the public who’s taken note. Anna Wintour is one of many in awe of the photographer, “I have said many times that we all get dressed for Bill. He’s been documenting me ever since I was a kid. And it’s one snap, two snaps or he ignores you, which is death.”

Do you feel that you have to prove the hands that grew those flowers?

Did you see what was printed on that man’s bowtie?

Aren’t you just amusing yourselves? Of course you are. Of course.

What do we lack? Where is the gap? Why do we yearn for escape? Is the world more visible from someplace else?

When’s the last time you thumbed through a dictionary?

saint-hymen: youdowhatyouloveandfucktherest: carlkr: Me and the fabulous LATRICE ROYALE! (Taken with instagram) OH MY GOD CARL I AM SO JEALOUS. Wait. This is like two degrees of separation. We went to middle school together, and you met Latrice. SO by virtue it means I’m one step away from Latrice. YES. but really super jelly, you’re both looking fierce! KILL ME Carl is living the dream, for real.

saint-hymen:

youdowhatyouloveandfucktherest:

carlkr:

Me and the fabulous LATRICE ROYALE! (Taken with instagram)

OH MY GOD CARL I AM SO JEALOUS. Wait. This is like two degrees of separation. We went to middle school together, and you met Latrice. SO by virtue it means I’m one step away from Latrice. YES.

but really super jelly, you’re both looking fierce!

KILL ME

Carl is living the dream, for real.

(via manic-utopia)

billyjane: Marina Abramović, Rhythm 0, 1974 To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her. Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions. Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later: “What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation. photo courtesy of igoyugo , audio available @ MoMA

billyjane:

Marina Abramović, Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:

“What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.

photo courtesy of igoyugo , audio available @ MoMA

(via epistomology)