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Agoria - Heart Beating (feat. KID A) [Radio Edit] by dispatchboxe EMAIL TWEET

+KK

Jan
28th
Sat
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on-dis-play:

A fine line

on-dis-play:

A fine line

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simsgonewrong:

My ghost sim and his ghost horse decided to fuck logic and ride on the ocean.
No more rides for them. 8I

simsgonewrong:

My ghost sim and his ghost horse decided to fuck logic and ride on the ocean.

No more rides for them. 8I

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(Source: scarymansion, via fantasypark)

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flashbackdandies:

herekitty:
Jarek Puczel, Olsztyn, Poland, Lovers, found at saatchionline

flashbackdandies:

herekitty:

Jarek Puczel, Olsztyn, Poland, Lovers, found at saatchionline

(Source: ymutate)

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(Source: ferestecdiary)

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cavetocanvas:

Romane Bearden, Village of Yo, c. 1964
From the Yale University Art Gallery:

Already an accomplished abstract artist, Romare Bearden was propelled by the Civil Rights movement of the early 1960s in the United States to a return to figuration. In 1963 he began using collage as a way to reintroduce the political possibilities of figurative images into his abstract vocabulary. In Village of Yo, a work that reveals Bearden’s social and political concerns of the 1960s, he alludes to the dual role of European and African heritages that form the basis of the African-American experience. At the center of the composition, a cubist-inspired head peers from a post-and-lintel frame, drawing on the dual perspective of profile and frontal viewpoint common to Egyptian images. Bearden then repeats this motif throughout the collage in numerous surrounding heads constructed out of photographs of African masks, ritual sculptures, and contemporary faces. The relays among these heads exemplify Bearden’s literal and symbolic reframing of the vocabulary that European modernism appropriated from Africa, within the cultural context of his own African heritage.

cavetocanvas:

Romane Bearden, Village of Yo, c. 1964

From the Yale University Art Gallery:

Already an accomplished abstract artist, Romare Bearden was propelled by the Civil Rights movement of the early 1960s in the United States to a return to figuration. In 1963 he began using collage as a way to reintroduce the political possibilities of figurative images into his abstract vocabulary. In Village of Yo, a work that reveals Bearden’s social and political concerns of the 1960s, he alludes to the dual role of European and African heritages that form the basis of the African-American experience. At the center of the composition, a cubist-inspired head peers from a post-and-lintel frame, drawing on the dual perspective of profile and frontal viewpoint common to Egyptian images. Bearden then repeats this motif throughout the collage in numerous surrounding heads constructed out of photographs of African masks, ritual sculptures, and contemporary faces. The relays among these heads exemplify Bearden’s literal and symbolic reframing of the vocabulary that European modernism appropriated from Africa, within the cultural context of his own African heritage.

(via cavetocanvas)

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cruiseorbecruised:

Andy Warhol
Male Torso, 1956
Pen and ink on paper
42.50 x 34.90 cm

cruiseorbecruised:

Andy Warhol

Male Torso, 1956

Pen and ink on paper

42.50 x 34.90 cm

(via raisedonsandwiches)

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(Source: condomdesgarcons, via ghetto0)

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(Source: cheshiryoshka, via superamiga)

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coursekit:

This is a parking garage. Really. 
via Fast Co. Design

coursekit:

This is a parking garage. Really. 

via Fast Co. Design

Jan
27th
Fri
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(Source: grafiks, via fantasypark)

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(Source: oldlawrence, via fantasypark)