Phrygian wooden furniture from the tomb of King Midas’ father in Gordion, Turkey. 8th century BC.
Jules of Nature
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Phrygian wooden furniture from the tomb of King Midas’ father in Gordion, Turkey. 8th century BC.
alfred stieglitz, equivalent, 1925
The Einar Jónsson Museum in Reykjavik stands as a stark, sculptural work in concrete — designed by Einar Jónsson himself.
Not me painting a portrait of tomorrow with the colors of today
Christophe Jacrot - Bologna
A cidade da Bahia, fotografias Mario Cravo Neto
—Emily Dickinson, envelope poem A821, The Gorgeous Nothings
If we believe we can be touched by grace, we must believe that touch can travel through all the interstices of pain we've earned simply by having had them forced on us. Grace can only obliterate pain that has been revealed, shown, known.
Danielle Chapman, quoted in Miroslav Volf and Christian Wiman, Glimmerings: Letters on Faith Between a Poet and a Theologian
Robert Gligorov: Transfiguration (2008)
untitled part 1: everything and nothing (1999) souha bechara after her release from captivity in israeli prison el-khiam in south lebanon.
An intimate dialogue that weaves back and forth between representations of a figure (of resistance) and subject with, Soha Bechara ex-Lebanese National Resistance fighter in her Paris dorm room taped (during the last year of the Israeli occupation) one year after her release from captivity in El-Khiam torture and interrogation centre (S. Lebanon) where she had been detained for 10 years, 6 years in isolation. Revising notions of resistance, survival and will, recounting to death, separation and closeness; the overexposed image and body of a surviving martyr speaking quietly and directly into the camera juxtaposed against her self and image, not speaking of the torture but of the distance between the subject and loss, of what is left behind and what remains.
On Vimeo (40:46) https://vimeo.com/71401594
Aleksey Savrasov - Evening Migration of Birds, 1874