-- Joel Sternfeld, Wet n' Wild Aquatic Theme Park, Orlando, Florida, September 1980, 1980.
NASA
let's talk about Bridgerton tea, my ask is open

#extradirty
TVSTRANGERTHINGS
noise dept.
Mike Driver
I'd rather be in outer space 🛸
ojovivo
Cosimo Galluzzi
Monterey Bay Aquarium

Janaina Medeiros
$LAYYYTER
Cosmic Funnies

祝日 / Permanent Vacation

Andulka
PUT YOUR BEARD IN MY MOUTH

No title available
almost home

Product Placement
todays bird

seen from Germany
seen from Türkiye
seen from United States

seen from Netherlands

seen from Spain

seen from United States
seen from Netherlands

seen from France

seen from Germany

seen from Türkiye
seen from Germany
seen from United States

seen from China
seen from Malaysia

seen from Saudi Arabia
seen from Canada
seen from Romania
seen from Spain
seen from Germany

seen from Türkiye
@branjon
-- Joel Sternfeld, Wet n' Wild Aquatic Theme Park, Orlando, Florida, September 1980, 1980.
-- Joel Sternfeld, McLean, Virginia, December 1978, 1978.
-- b, Three Rooms, 2014.
To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy.
-- Jane Jacobs, The Death and Life of Great American Cities, 1961.
b, Sketchy House, 2014.
Consequently, he had about five minutes left to live, not more. He said those five minutes seemed like an endless time to him, an enormous wealth. It seemed to him that in those five minutes he would live so many lives that there was no point yet in thinking about his last moment, so that he even made various arrangements: he reckoned up the time for bidding his comrades farewell and allotted two minutes to that, then allotted two more minutes to thinking about himself for the last time, and then to looking around for the last time. He remembered very well that he made precisely those three arrangements, and reckoned them up in precisely that way.
-- Fyodor Dostoevsky, The Idiot, 1869.
-- b, High-rises with old paint, 2014.
[The city] operates cataclysmically because we, as a society, have asked for just this. We thought it would be good for us, and we got it. Now we accept it as if it were ordained by God or the system.
-- Jane Jacobs, The Death and Life of Great American Cities, 1961.
-- Andy Warhol, Robert Moses, 1964.
Jesse Reiser & Nanako Umemoto, “Aktion Poliphile: Hypnerotomachia Ero/machia/hypniahouse, Wiesbaden, Germany” (1989)
-- Lois Dodd, Burning House, Night, Vertical, 2007.
El Lissitzky, poster for the Soviet pavilion at the Pressa exhibition in Cologne, 1928. (via http://thecharnelhouse.org/2014/03/01/el-lissitzkys-soviet-pavilion-at-the-pressa-exhibition-in-cologne-1928/)
Berlin - Breitsheid Platz by Peter Cook 1990
-- Kurt Schwitters, Merzbau (Hannover), 1923-1937. [Photo by Wilhelm Redemann, 1933.]
— b, Old things from early years, 2014.
-- Carrie Mae Weems, "May Flowers," from May Days Long Forgotten, 2002.
-- Carrie Mae Weems, "Untitled (Man and mirror)," from Kitchen Table Series, 1990.