+
"A man dumps the body of a girl in a ditch. The body rots, melts into slime. Flowers pop up where the body lies, seeds fly out of the flowers, and a bee sucks the flowers and makes honey. And the family of the girl buys the honey from the store, and the family eats the girl."
The Tracey Fragments (2007)
+
mirrormaskcamera:

angrywhistler:

Matteo Sbaragli

Gravastar n.2                                                                                                                                             Oil on plexiglass, 200cmx150cm.
+
yagazieemezi:

What Color is Love?
Photos: Abby Ross
Model:  Jodie Smith
Stylist:  Meghan Sebold
Website / Facebook / Twitter / Instagram
Dedicated to the Cultural Preservation of the African Aesthetic
yagazieemezi:

What Color is Love?
Photos: Abby Ross
Model:  Jodie Smith
Stylist:  Meghan Sebold
Website / Facebook / Twitter / Instagram
Dedicated to the Cultural Preservation of the African Aesthetic
yagazieemezi:

What Color is Love?
Photos: Abby Ross
Model:  Jodie Smith
Stylist:  Meghan Sebold
Website / Facebook / Twitter / Instagram
Dedicated to the Cultural Preservation of the African Aesthetic
yagazieemezi:

What Color is Love?
Photos: Abby Ross
Model:  Jodie Smith
Stylist:  Meghan Sebold
Website / Facebook / Twitter / Instagram
Dedicated to the Cultural Preservation of the African Aesthetic
yagazieemezi:

What Color is Love?
Photos: Abby Ross
Model:  Jodie Smith
Stylist:  Meghan Sebold
Website / Facebook / Twitter / Instagram
Dedicated to the Cultural Preservation of the African Aesthetic
yagazieemezi:

What Color is Love?
Photos: Abby Ross
Model:  Jodie Smith
Stylist:  Meghan Sebold
Website / Facebook / Twitter / Instagram
Dedicated to the Cultural Preservation of the African Aesthetic
yagazieemezi:

What Color is Love?
Photos: Abby Ross
Model:  Jodie Smith
Stylist:  Meghan Sebold
Website / Facebook / Twitter / Instagram
Dedicated to the Cultural Preservation of the African Aesthetic
+
cubebreaker:

In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
cubebreaker:

In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
cubebreaker:

In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
cubebreaker:

In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
cubebreaker:

In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
cubebreaker:

In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
cubebreaker:

In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
+
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
likeafieldmouse:

John Divola - Zuma (1977-8)
“Zuma is a photographic record made over time of a beachfront property that was being used intermittently by the fire department for fire-fighting practice. As Divola observed the building over the course of two years, it was ravaged by fire, vandalism, and the artist’s own graffiti. These acts of human intervention, as he saw them, became integrated with the inevitable natural processes of decay.”
+

rainbow cacti (Echinocereus pectinatus)
+
malformalady:

Seal Loungeroom, taken on Isabella, Galapagos.
Photo credit:© Ryan Essex/National Geographic Traveler Photo Contest)
+
+
+

Arundhati Roy (1990s)

Arundhati Roy (1990s)
+
discloser:

Susan Worsham
Fruit
from her series Some Fox Trails in Virginia 
+
mfjr:

(by Frederico Pellachin)
+
lurnps:

Art in Architecture in San Francisco - Toshio
+

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015

Elie Saab - Fall Winter 2014 2015
+