Untitled by Matt Gomes
macklin celebrini has autism

pixel skylines
Alisa U Zemlji Chuda
cherry valley forever
Xuebing Du
One Nice Bug Per Day

祝日 / Permanent Vacation
tumblr dot com
Cosmic Funnies
Sade Olutola

JBB: An Artblog!
Game of Thrones Daily

if i look back, i am lost

Janaina Medeiros
No title available

oozey mess
"I'm Dorothy Gale from Kansas"
Not today Justin
Cosimo Galluzzi

Discoholic 🪩

seen from United States
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seen from Philippines

seen from Iraq
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seen from Indonesia
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seen from United States
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seen from Japan

seen from Italy
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@totalbummer4ever
Untitled by Matt Gomes
Untitled by DValchev
remote by TC Via Flickr: Blanchard, Oklahoma
Untitled by Saxon villa
. by Kramer O'Neill Via Flickr: instagram
Maia, Denneville Plage, 2015 by Ben Anderson
inconnue
North West QLD, 2015.
Marilyn Monroe by Phil Stern, 1953
Robert Frank, The Americans, 1950s
Ron Jude
COLOMBIA. Bogota. 2003 Alec Soth
Masahisa Fukase - Nayoro, from The Solitude of Ravens, 1976, Michael Hoppen Gallery
“Masahisa Fukase’s Karasu (Ravens) was made between 1975 and 1982 in the wake of his wife Yōko Wanibe divorcing him. The visual narrative of the series revolves around the anthropomorphic form of the raven. Dead and alive the birds punctuate the work; lone birds reduced to shadow puppetry against the snow or dislocated flocks that mimic the grain of the photographs themselves. Although interjected with other subjects such as blizzard streaked streets or the fleshy form of a nude masseuse, it is the recurrent presence of the ravens that sets the ominous and cinematic tone of the work. Akira Hasegawa in her poetic afterword to the book summarises Ravens with the following: “In the case of Masahisa Fukase, the subject of his gaze became the raven. For him, the “raven” was both a tangible creature and a fitting symbol of his own solitude”. At the end of the project in 1982 Fukase himself enigmatically wrote that he had “become a raven”. Ravens are an omnipresent feature of urban Japan. As in the west, the image of the raven is seen as the harbinger of dark times. Fukase came to prominence as a photographer in the aftermath of WWII and as such the series has, on occasion, been read as a commentary upon the shadow cast by Japan’s defeat. Inherently abstract this elusive soliloquy is open to multiple interpretations. Primarily, however, the photographs are a personal lament reflecting the darkened vision of the photographer himself. Regarded by many as the most important body of work to come out of postwar Japan, Ravens’ haunting imagery continues to inspire artists and writers today.” Michael Hoppen Gallery
DAY 5 - URBANAUTICA INSTAGRAM TAKE OVER BY JORDI HUISMAN
Hi this is @jordi.huisman and I’m taking over the @urbanautica account for this week! I’m going to show some images from my project ”Outline”.
© Jordi Huisman
Rachel Louise Hodgson
Simon Roberts // This Land is Your Land
Nick Meek