[sevenyearsinadvertising]

Pyramid of the Sun, Teotihuacan, Mexico

[whyenn-reader]

you are not immune to inventing an arbitrary set of rules that only you have to adhere to

[desert-love]

Green River Overlook in Canyonlands, looking out over the massive desert basin. Right on the edge of the red rock cliff, there’s a lone figure standing there, which really gives you a sense of just how massive and endless this landscape actually is.

[me4n]

Chanel - Spring 2002 Couture

[archivearchangelica]

Artist's Palette, Death Valley, 2009

[reset0009]

[meowmorials]

2007

[split-pixel]

U.N. Squadron // Area 88, 1991

Capcom // SNES

[antigonick]

Revolutionaries in Africa understood that the question of African liberation was not just a question of race, that even if they managed to get rid of the white colonialists, if they didn’t rid themselves of the capitalistic economic structure, the white colonialists would simply be replaced by Black neocolonialists. There was not a single liberation movement in Africa that was not fighting for socialism. In fact, there was not a single liberation movement in the whole world that was fighting for capitalism. The whole thing boiled down to a simple equation: anything that has any kind of value is made, mined, grown, produced, and processed by working people. So why shouldn’t working people collectively own that wealth? Why shouldn’t working people own and control their own resources? Capitalism meant that rich businessmen owned the wealth, while socialism meant that the people who made the wealth owned it.

—Assata Shakur, Assata: An Autobiography

[pixelskylines]

DenjinMakai (Super Famicom) (1994)

[spiritualseeker777]

[7pleiades7]

Doña María de la Luz Padilla y Gómez de Cervantes (c. 1760), (detail), by Miguel Cabrera (Novohispanic, 1695–1768), oil on canvas, 43 x 33 in. (109.2 x 83.8 cm), Private Collection

[7pleiades7]

[7pleiades7]

Les Oréades (The Oreads), (Detail), (1902), by William-Adolphe Bouguereau (French, 1825 – 1905), oil on canvas, 237.5 cm × 181.5 cm (93.5 in × 71.5 in), Musée d’Orsay, Paris

[7pleiades7]

Reclining Bacchante, (Detail), (1834), by Lorenzo Bartolini (Italian, 1777 – 1850), marble, Musée du Louvre, Paris

[7pleiades7]

The Three Graces (Les Trois Grâces), (Details), (1831), by James Pradier (French, 1790 – 1852), white marble, 1.7 m (67.7 in) x 1 m (40.1 in) x 0.4 m (17.7 in), Musée du Louvre, Paris

[7pleiades7]

Venexiana Spring 2012