➳

[thelostcanyon]

Winter storm approaching J-Six Ranch, Cochise County, Arizona.

[sarahmaxwellart]

[youlooklikearealbabetoday]

“Rather than water being important in itself, water flows from top to bottom. I think that’s the tragic and sad element in this film. Water always flows from the rich to the poor, it never flows the other way.” –Bong Joon-ho

Parasite | 기생충 (2019)

[nicrwilson]

sunrise adventures up in the mountains >>> hsc study 😞🌄 — view on Instagram https://ift.tt/2nGgnHY

[lettersfromaugust]

@watoniki

[beedallo]

[huariqueje]

Dinner    -     Alejandra Caballero

Spanish,  b. 1974-

Oil on canvas

[mr-entj]

“I want to infect you with the tremendous excitement of living, because I believe that you have the strength to bear it.”

— Tennessee Williams, The Selected Letters: 1920-1945 (via wordsnquotes)

[escapekit]

Australian Salt

Germany-based photographer Kevin Krautgartner has captured the beauty of salt evaporation ponds, also called salterns. They are shallow artificial ponds designed to extract salts from sea water. To make it’s sea salt, many companies in Australia are using a method called “solar evaporation”. Solar salt is produced by the action of sun and wind on seawater in large ponds. The seawater evaporates in successive ponds until the seawater is fully concentrated and the salt then crystallizes on the floor of the pond. Due to variable algal concentrations, vivid colours, from bright blue to deep red, are created in the evaporation ponds. The colour indicates the salinity of the ponds.

[jehovahhthickness]

[theglowpt2-deactivated20200101]

straight men trying to make Serious war dramas and accidentally making incredibly tender homoerotic cinema is the funniest thing

[beachdeath]

In his essay, “Masculinity as Spectacle,” Steve Neale seeks to extend Laura Mulvey’s work on the male gaze and to challenge her assertion that the male or male-identified spectator can never look upon the male body as an erotic object. To challenge Mulvey’s assertion, Neale identifies the mechanisms mainstream Hollywood cinema uses to represent the male body as erotic. One way of doing this, Neale argues, is by making the male body the target of violence. In the war film, a soldier can hold his buddy – as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid’s naked flesh – as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege – as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover – as long as he is riddled with bullets. Violence makes the homoeroticism of many “male” genres invisible; it is a structural mechanism of plausible deniability.

-Kent Brintnall

[alittlelife]

Untitled (You Construct Intricate Rituals) 1981 Barbara Kruger (American, born in 1945)

[outdoorspastelnature]

[woodlandsouls]

[cineasc]

The Virgin Suicides (1999) Sofia Coppola

[vladtheunfollower]

“We notice in language as well as in life that the male occupies both the neutral and the male position. This is another way of saying that the neutrality of objectivity and of maleness are coextensive linguistically, whereas women occupy the marked, the gendered, the different, the forever-female position. Another expression of the sex specificity of objectivity socially is that women have been nature. That is, men have been knowers, mind; women have been “to-be-known,” matter, that which is to be controlled and subdued, the acted upon. Of course, this is all a social matter; we live in society, not in the natural world.”

— Catharine A. MacKinnon, “Desire and Power” in Feminism Unmodified: Discourses on Life and Law (1987), p.55 (via physicalfeministresources)

[aww-so-pretty]

[sevenpoints]