“I think perfection is ugly. I want to see scars, failure, disorder, distortion.”
— Yohji Yamamoto   (via theimperfectideal)

(via theimperfectideal)

VISVIM X SOPHNET. : “Logan” Canvas VD Black.

(via cosmicwonderlightsauce)

asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.
asylum-art:

Richard Mosse: The enclave 
the enclave at venice art biennale 2013 In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.

asylum-art:

Richard Mosse: The enclave

the enclave at venice art biennale 2013
In his current show at Jack Shainman, Richard Mosse reprises his heart-rending multimedia installation from the Irish Pavilion at the Venice Biennale last year. The piece, shot in a discontinued military surveillance film that turns the footage a rose color, documents his experience infiltrating armed rebel groups in the eastern Democratic Republic of Congo.

(via unionlosangeles)

calumet412:

Diana’s Hot Dogs, Milwaukee and Western, 1987, Chicago. Patty Carroll

The building attached to the hot dog stand is now home of the the Green Eye Lounge.

(via jeanfivintage)

coffee-and-wood:


pronunciation | nats-ka-‘shE (nahtzkah-SHEE)Japanese | 懐かしいtip | The final pronunciation doesn’t really have an “oo” sound in it.

I love Japanese<3

coffee-and-wood:

pronunciation | nats-ka-‘shE (nahtzkah-SHEE)
Japanese | 懐かしい
tip | The final pronunciation doesn’t really have an “oo” sound in it.

I love Japanese<3

(via booklover)

killerbeesting:

Leon Levinstein, New York, 1965

killerbeesting:

Werner Bischof, Naples, 1946  

vintageeveryday:

Elvis Presley riding a bike, stops to sign autographs for fans in Germany in 1959.

(via distinguishedcompany)


James Dean photographed by Dennis Stock, NYC, 1955.

James Dean photographed by Dennis Stock, NYC, 1955.

James Dean photographed by Dennis Stock, NYC, 1955.

James Dean photographed by Dennis Stock, NYC, 1955.

James Dean photographed by Dennis Stock, NYC, 1955.

(via planstobesurprised)