August 9, 2013

BACK TO SCHOOL SPECIAL 

July 16, 2013

FILE UNDER WHY I LIKE DANCE MUSIC 

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
who-wore-it-better:

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

who-wore-it-better:

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

July 10, 2013   8,725 notes

fizzart:

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

theparisreview:

“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

lareviewofbooks:

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)