August 9, 2013


July 16, 2013


July 10, 2013

My summer has been a quadratic equation involving Girls, Portlandia, the Craft, and Six Feet Under. Formerly My So Called Life and, I don’t know, PARTY GIRL. HELLO HELLO HELLO?  

July 10, 2013   6 notes

Alfred Steiner No Clearance in the Niche  ::  Mattias Givell No Clearance in the Niche


Alfred Steiner No Clearance in the Niche  ::  Mattias Givell No Clearance in the Niche

July 10, 2013   8,725 notes


2013 - watercolours play

winsor & newton watercolours on cartridge paper

©Liz Gridley

July 10, 2013

When I think about moving to New Orleans and embarking on a graduate degree, I also think of loss. I’m losing a city I love and hate. The city where I made so many fumbles and near-fumbles. Grief has a way making you aware of your flaws and also a way trying to combat your fears that you wanted to conquer. You just want to be in good order, but you’re not a robot. You wish you could be in a movie where it’s OK to stand in the middle of the street and scream, but your neighbors would call the cops. I turn to “Paradise” for the umpteenth time just to say, fuck it, this fucking sucks, but I have so much I want to accomplish. 

July 8, 2013   5,493 notes

(Source: viviling, via rustylazer)

June 24, 2013

I love music for gay divorcees :) 

June 24, 2013   201 notes


“I often try to make photographs that have a classic or timeless feeling. I don’t say this as a value judgment, but a visual one. I often try to avoid time signals in my images—things that give away the time period in which the image is made.”

A conversation with photographer Christian Patterson, on his new book of photographs, Redheaded Peckerwood, Terrence Malick’s 1973 film Badlands, and the timelessness of his work.

June 24, 2013   18 notes


Victoria Bugge Øye reveals the “old and new, high and low, everyday and spectacle,” that film scholar Edward Dimendberg speaks to in his new book, Diller Scofidio+Renfro: Architecture after Images:

Snapped from the south end of the High Line toward Gansevoort Street, the cover of Architecture After Images shows the elevated park structure in a literal cross section. The old railroad tracks have been severed with surgical precision, a clean cut that is dramatized by sharply delineating glass railings. It is a structure cut open for prying eyes, voyeurs, and exhibitionists. From the beginning, DS+R have been devoted to displaying the social and spatial conventions of space by inventing their own language of representation. This commitment comes nearly full circle in this snapshot of a hybrid that has one foot in each camp: part building, part image.

Read the whole review here.

(Source: lareviewofbooks)