Photo 31 Jul 34 notes design-is-fine:

Konstantin Grcic with his Chair One. Photo Phaidos App Design Classics.

design-is-fine:

Konstantin Grcic with his Chair One. Photo Phaidos App Design Classics.

Photo 31 Jul 36 notes vostok1:

Open Air School Amsterdam, Netherlands

vostok1:

Open Air School Amsterdam, Netherlands

Photo 31 Jul 32 notes cocoon-jp:

Architecture Photography: Chapel St Genevieve / OBIKA Architecture (530305)
via James.
Photo 31 Jul 20 notes 
Paul Klee, Walpurgisnacht, 1935

Paul Klee, Walpurgisnacht, 1935

(Source: the-night-picture-collector)

Photo 31 Jul 45,637 notes
Photo 31 Jul 131 notes

(Source: elleeste-belle)

via Atm.
Video 31 Jul 46 notes

roomonfiredesign:

'L’Anatomie de la Sensation', Opéra Bastille, Paris 2011. Set design by John Pawson. Photos: Richard Davies.

Video 31 Jul 203 notes
Photo 29 Jul 427 notes the-gasoline-station:

Square Favela
Aerial view of Rio das Pedras shantytown (favela), next to Barra da Tijuca, in Rio de Janeiro, Brazil, on June 28, 2014
Picture: Yasuyoshi Chiba/AFP/Getty Images
Source: The Atlantic In Focus

the-gasoline-station:

Square Favela

Aerial view of Rio das Pedras shantytown (favela), next to Barra da Tijuca, in Rio de Janeiro, Brazil, on June 28, 2014

Picture: Yasuyoshi Chiba/AFP/Getty Images

Source: The Atlantic In Focus

Video 29 Jul 422 notes

(Source: fabriciomora)

Photo 29 Jul 4 notes 4wallsproject:

†
via Four Walls.
Photo 29 Jul 109 notes hismarmorealcalm:

Adolphe Terris (1820-1900)  Sculpture Study  circa 1865  Photograph cyanotype from wet collodion negative 

hismarmorealcalm:

Adolphe Terris (1820-1900)  Sculpture Study  circa 1865  Photograph cyanotype from wet collodion negative 

via Untitled.
Photo 28 Jul 502 notes sculpture-center:

FEATURED ARTIST: Karyn Olivier
In her work, Karyn Olivier (b. Trinidad and Tobago) shifts the viewer’s experience of the familiar through the discrete placement, rearrangement, embellishment, and replication of everyday objects in various sites. Revealing the malleable and unfixed nature of objects and spaces, this manipulation forces us to reconcile memory with the present moment, collapsing the past with the present. Olivier incorporates photographs and photo collages into her practice in order to mine the everyday, blur the line between friction and ease, dissonance and unity and mirror the complexities that define humanity. The hope is to create a sleight of eye, a slit into something else, a conflation suggesting a visual accord that’s not necessarily there.
Olivier’s work has been exhibited nationally and internationally, including exhibitions at the Gwangju and Busan Biennials (Korea), World Festival of Black Arts and Culture (Dakar, Senegal), the Wanas Foundation (Sweden), The Studio Museum in Harlem, The Whitney Museum of Art, MoMA P.S.1, The Museum of Fine Arts Houston, The Contemporary Arts Museum Houston and Socrates Sculpture Park. She is the recipient of the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts Award, a Pollock-Krasner Foundation grant, the William H. Johnson Prize, the Louis Comfort Tiffany Foundation Biennial Award and a Creative Capital Foundation grant.
Karyn Olivier, Untitled (Coffee Table), Installation view at MoMA PS1 L.I.C., NY, 2005. Coffee table, foam board and latex paint, h.13 ft. w.50 in. d.23 in. Courtesy the artist and MoMA PS1.

sculpture-center:

FEATURED ARTIST: Karyn Olivier

In her work, Karyn Olivier (b. Trinidad and Tobago) shifts the viewer’s experience of the familiar through the discrete placement, rearrangement, embellishment, and replication of everyday objects in various sites. Revealing the malleable and unfixed nature of objects and spaces, this manipulation forces us to reconcile memory with the present moment, collapsing the past with the present. Olivier incorporates photographs and photo collages into her practice in order to mine the everyday, blur the line between friction and ease, dissonance and unity and mirror the complexities that define humanity. The hope is to create a sleight of eye, a slit into something else, a conflation suggesting a visual accord that’s not necessarily there.

Olivier’s work has been exhibited nationally and internationally, including exhibitions at the Gwangju and Busan Biennials (Korea), World Festival of Black Arts and Culture (Dakar, Senegal), the Wanas Foundation (Sweden), The Studio Museum in Harlem, The Whitney Museum of Art, MoMA P.S.1, The Museum of Fine Arts Houston, The Contemporary Arts Museum Houston and Socrates Sculpture Park. She is the recipient of the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts Award, a Pollock-Krasner Foundation grant, the William H. Johnson Prize, the Louis Comfort Tiffany Foundation Biennial Award and a Creative Capital Foundation grant.

Karyn Olivier, Untitled (Coffee Table), Installation view at MoMA PS1 L.I.C., NY, 2005. Coffee table, foam board and latex paint, h.13 ft. w.50 in. d.23 in. Courtesy the artist and MoMA PS1.

Photo 28 Jul 2,084 notes nevver:

The New Yorker
via .
Photo 28 Jul 18 notes ein-bleistift-und-radiergummi:

James Farrand ‘What’s inside’.

ein-bleistift-und-radiergummi:

James Farrand ‘What’s inside’.


Design crafted by Prashanth Kamalakanthan. Powered by Tumblr.