Man Ray, Emak Bakia 1926
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"I'm Dorothy Gale from Kansas"

Love Begins
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Aqua Utopia|海の底で記憶を紡ぐ

ellievsbear
Alisa U Zemlji Chuda
noise dept.
I'd rather be in outer space 🛸

#extradirty
ojovivo
will byers stan first human second
Jules of Nature
RMH
Misplaced Lens Cap
TVSTRANGERTHINGS
sheepfilms
Keni
YOU ARE THE REASON
PUT YOUR BEARD IN MY MOUTH
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@senemozgoren
Man Ray, Emak Bakia 1926
At the heart of Love, lies Sacrifice
At the heart of Love, lies Sacrifice
A woman goes in to the darkest of caves, sits before the bones of the past; of death. She goes in to childs pose and sits there, singing, dancing, begging all at the same time, so that the skeletons answer her prayers. She nows the Life/Death/Life cycles. She knows through her intuition; she will receive the greatest of gifts: Life. Do not submit, continue to play your games so Life continues.…
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La Chenille de la carotte (1911), director unknown
but a dream within a dream…
BORDERS OF DELIRIUM OR the japanese film
BORDERS OF DELIRIUM OR the japanese film
Shūji Terayama / The poet who turned a director
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sen benim mucizemsin; inanmakta hep zorlandığım, varlığından büyülendiğim
sen benim mucizemsin; inanmakta hep zorlandığım, varlığından büyülendiğim
Augsburger Wunderzeichenbuch (Genesis 9, 12-15) 1552 Augsburger Wunderzeichenbuch (Genesis 9, 12-15) 1552 Augsburger Wunderzeichenbuch (Genesis 9, 12-15) 1552 Augsburger Wunderzeichenbuch (Genesis 9, 12-15) 1552 Augsburger Wunderzeichenbuch (Genesis 9, 12-15) 1552 Augsburger Wunderzeichenbuch (Genesis 9, 12-15) 1552 Augsburger Wunderzeichenbuch (Genesis 9, 12-15) 1552 Augsburger…
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IN THE END, WE WILL BE HOLDING HANDS
IN THE END, WE WILL BE HOLDING HANDS
In the beginning there was no existence. Existence appeared and grew. It became an egg. The egg broke open. One of its halves was of silver, the other gold. The silver half became this earth. The golden half became the sky. The membrane surrounding the white of the egg became the mountains. The membrane surrounding the yolk became mist and clouds. The blood vessels rivers. The white became the…
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touching you / must subtle way Pureness of the touch, the look, the feel, the sentiment. Why is everything so hard? Why does everything seem so easy?
INTRODUCING / PHOTOGRAPHER PROFILE: GLENNA GORDON
INTRODUCING / PHOTOGRAPHER PROFILE: GLENNA GORDON
The chess set made by the group of Western hostages held in Northern Syria by IS. Firdausy El-yakub reads a romance novel in her bedroom in Kano, Northern Nigeria on March 21, 2013. Her university has been on strike for weeks, so she spends most of her days reading and dreams of one day becoming a novelist too. Her father allows her to go to the market and buy new books often.While Northern…
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Introducing: Photographer Profile / Mehmet Çakır
Introducing: Photographer Profile / Mehmet Çakır
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Ruins from Greece
Greece expiring on the Ruins, Patrick Caulfield, 1963 Pottery 1969 Patrick Caulfield Still Life with Dagger, Patrick Caulfield Vase on Display 1970, Patrick Caulfield The Hermit, 1967, Patrick Caulfield Still Life Still Life with Iznik Pottery
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MON ROI
The Frog Prince reveals his identity, Gusti Nyoman Lempad, 1930
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Dangerous Cooks
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for almost his entire life. He was associated with the artistic group Les XX. Les Cuisiniers Dangereux Les Cuisiniers Dangereux Skeletons Warming Themselves Baptism masks, 1925 A Polar Bear’s Tale The Song of…
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L’Art de la Guerre Quand ton oeil est devenu un oeil pour mon coeur, Mon coeur aveuglé s'est noyé dans la vision.
WHO? THOMAS EDISON?
NO, MAN RAY ELECTRICITE C.P.D.E.
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WHAT'S IN A NAME?
WHAT’S IN A NAME?
that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call’d, Retain that dear perfection which he owes Without that title. Romeo, doff thy name; And for that name, which is no part of thee, Take all myself. Georges Hugnet (1906-1974), Guide Rose: Huite jours a Trébaumec, 1969
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“Your paintings are just like my films. About nothing. But with precision.” – Michelangelo Antonioni to Mark Rothko, in conversation at Rothko’s New York studio