Luigi Ghirri, Marina di Ravenna,1972
KIROKAZE
$LAYYYTER
hello vonnie
d e v o n

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The Stonewall Inn
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Misplaced Lens Cap
will byers stan first human second
untitled
Sweet Seals For You, Always
Mike Driver
he wasn't even looking at me and he found me

tannertan36
2025 on Tumblr: Trends That Defined the Year
almost home
Noah Kahan

Andulka
Stranger Things
RMH

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seen from United States

seen from France
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@orienteering
Luigi Ghirri, Marina di Ravenna,1972
Kenneth Tam, All of M, 2018
Julio Le Parc, Rotation in Red and Black (Rotación en Rojo y Negro), 1959
Zhenya Machneva, CHP-14, 2016
Morris Louis, Tet, 1958
Jeff Koons, Cake, 1995–97
Lynda Benglis, Hills and Clouds, 2014
Antoine Catala, Distant Feel, 2015
Joseph Mallord William Turner, Vesuvius in Eruption, 1817-20
Psychic TV - Tekno Acid Beat
Katherine Bernhardt, Tacos and Money, 2013
Flight Patterns on a billboard
La Monte Young and Marian Zazeela, Dream House
Vito Acconci, Theme Song, 1973
Vito Acconci, Claim, 1971
"What he wants is to touch the other as what he cannot control and to make this inability to control that other a proof of the other’s existence and presence to him, so that though he is sometimes afraid his use of audio may work merely to numb the viewer, he hopes that it will instead make the viewer rebel, make him fight back; he crowds his audience, as if to force it out of its silence, force it to ratify his speech. The experience of coming upon Acconci unexpectedly--at the bottom of the stairs in Claim, for example--can be strongly, if momentarily, disquieting in just this way. The viewer cannot but feel himself caught up in a complex game of person-and-surrogate person where the final ontological burden lies on his shoulders. The logic deployed here is one that, in effect, always counts down from the other toward the self: the other’s presence to me proves my presence; the reaction of the other limits and so displays my action; what I cannot control shows what I can control, that I do control"
Yves Klein "painting" with fire.
Yves Klein, Untitled Fire Painting, 1961