Makenna Cart, 2022 - by Szilveszter Makó, Hungarian
Sweet Seals For You, Always
$LAYYYTER
PUT YOUR BEARD IN MY MOUTH

❣ Chile in a Photography ❣
🩵 avery cochrane 🩵
𓃗
todays bird
Mike Driver
Xuebing Du
d e v o n
trying on a metaphor
noise dept.
Cosmic Funnies
untitled
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Andulka

tannertan36

blake kathryn
TVSTRANGERTHINGS
Aqua Utopia|海の底で記憶を紡ぐ
seen from South Korea
seen from United States

seen from Malaysia
seen from Türkiye
seen from Türkiye

seen from France
seen from Australia

seen from Canada
seen from Kenya
seen from Pakistan
seen from United States
seen from Azerbaijan
seen from Saudi Arabia

seen from Brazil

seen from Ecuador
seen from Italy
seen from Algeria
seen from Argentina
seen from Iraq

seen from Malaysia
@fourwindows
Makenna Cart, 2022 - by Szilveszter Makó, Hungarian
To commemorate Independence Day, let us all closely consider these words as set down by President George Washington himself in his diary in recognition of July 4th:
Gerhard Richter (b. 1932) [Germany] — ‘Fuji’, 1996. Oil on Alucobond (37.5 x 29.2 cm).
The Black ABCs
The 1970s Chicago-developed educational flashcards created by June Sark Heinrich and Bernadette H. Triplett to provide Black-centered learning materials for the youth.
correct me if i'm wrong, but i don't see any good reason for institutions to hoard thousands of photos taken by people who are no longer alive, keep them hidden, and then make money from access and from people wanting to use them for their own projects or any other purpose. these images are part of our shared history, not commodities. they should be seen, not stay hidden.
the asala collection (spanning 130 years, 355 albums/items, and more than 30.000 images) is a perfect example
the collection has been exhibited and promoted, & it is clearly an important historical archive. but who gets meaningful access?
a single rare photo album like those in collections such as this can cost thousands, putting them mainly within reach of wealthy collectors, universities, or museums.
these images are records of human history. when our shared visual heritage is locked behind ownership, price, and restricted access, most people lose the chance to see and learn from it.
they should be preserved, digitised & made accessible.
there is a pdf giving a glimpse into this huge collection; here. and this is only one collection; focused on the middle east & arabian peninsula. there are countless others.
the next time someone asks what this country is like i’ll just send them this
- Velký noční hlídač / Watchman
- author of the videomaping Milan Cais
-photography ©ČTK, ©David Peltán, MAFRA.
how do we get them to stop doing that
they also blink and move btw in case anyone was wondering if it could get worse
The original flag, by Gilbert Baker, June 25, 1978.
My.Kali: "is the first LGBTQ+ webzine for and from the Middle East and North Africa. they aim to demonstrate diversity and fight repressive forms and norms with art therapy, photography, and visual innovation. The magazine tackles issues related to women’s rights, personal politics, gender related matters, freedom of speech, alt-communities, and new media. This allows for a window of hope where societies’ minorities can find solidarity, offering a safe atmosphere of reassurance and certainty in the midst of regional turmoil."
Jaq Chartier (American, b.1961), Hunting Color, 2018. Mixed media on panel.
Rachel Whiteread, Books, 1997
Fabian Cháirez (Mexican, 1987) - Invocación (2015)
Kasimir Malévitch, Carré noir, (oil on plaster), [1923-1930] [Centre Pompidou, Paris. Public domain. Photo: Service de la documentation photographique du MNAM – Centre Pompidou, MNAM-CCI]
They Have Slept in the Forest Too Long (1926) Max Ernst, oil on canvas
Gabriel Orozco [Mexico] (b 1962) ~ 'Orbit's Trace (Primal)', 2018. Tempera on gesso on wood (63 x 63 cm).
by Peter Halley, 1992
Volcano view, Popocatepel, Cholula Puebla, Mexico - Author: NyxWovenDreams