Untitled

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  • (via britneyspears)

    Source: slave4britneyy
    • 4 months ago
    • 1093 notes
  • Favorite Videos: “Lucky” by Britney Spears music video

    (via britneyspears)

    Source: earlsupperlip
    • 4 months ago
    • 656 notes
  • conradrosetart:

Another DETAIL of ENSUEÑOS book (avalible on Amazon, Fnac, etc)

    conradrosetart:

    Another DETAIL of ENSUEÑOS book (avalible on Amazon, Fnac, etc)

    (via theonlymagicleftisart)

    Source: conradrosetart
    • 4 months ago
    • 361 notes
  • theartofanimation:

    Alexey Egorov

    Source: theartofanimation
    • 4 months ago
    • 1617 notes
  • ourpresidents:

LBJ’s Staff and Many Cups of Coffee 
President Lyndon B. Johnson’s staff prepares for the State of the Union Address. Jack Valenti and Joe Califano are pictured, L-R.  1/12/66.
Good morning Monday!
-from the LBJ Library

    ourpresidents:

    LBJ’s Staff and Many Cups of Coffee

    President Lyndon B. Johnson’s staff prepares for the State of the Union Address. Jack Valenti and Joe Califano are pictured, L-R.  1/12/66.

    Good morning Monday!

    -from the LBJ Library

    Source: lbjlibrary.net
    • 4 months ago
    • 40 notes
  • cavetocanvas:

Lawrence Weiner, THE RESIDUE OF A FLARE IGNITED UPON A BOUNDARY, 1969
From the Guggenheim:

In a radical restructuring of the traditional artist/viewer relationship, Weiner shifted the responsibility of the work’s realization to its audience, while also redefining standard systems of artistic distribution. A work such as A STAKE SET (1969) can be made or merely spelled out on a museum wall, but it can also be read in a book or heard if uttered aloud. Weiner’s art can literally be disseminated by word of mouth. Much of the early work rehearses simple actions involving basic substances—pouring paint, digging trenches, removing plaster—and, like all subsequent examples, are stated in the past tense to avoid the authoritative tone of a command. Others are more spectacular, involving firecrackers and dynamite.THE RESIDUE OF A FLARE IGNITED UPON A BOUNDARY (1969), a piece that Weiner actually executed in Amsterdam for the Stedelijk Museum’s pivotal 1969 Conceptual art exhibition Op Losse Schroeven: Situaties en Cryptostructuren (Square Pegs in Round Holes: Structures and Cryptostructures), is poetic in its ability to evoke vivid imagery, while at the time suggesting coded systems of communication. Weiner gradually extended his engagement with language to ready-made structures, such as idioms, clichés, and proverbs, which underscore the contingent nature of meaning when encountered in different contexts.

    cavetocanvas:

    Lawrence Weiner, THE RESIDUE OF A FLARE IGNITED UPON A BOUNDARY, 1969

    From the Guggenheim:

    In a radical restructuring of the traditional artist/viewer relationship, Weiner shifted the responsibility of the work’s realization to its audience, while also redefining standard systems of artistic distribution. A work such as A STAKE SET (1969) can be made or merely spelled out on a museum wall, but it can also be read in a book or heard if uttered aloud. Weiner’s art can literally be disseminated by word of mouth. Much of the early work rehearses simple actions involving basic substances—pouring paint, digging trenches, removing plaster—and, like all subsequent examples, are stated in the past tense to avoid the authoritative tone of a command. Others are more spectacular, involving firecrackers and dynamite.THE RESIDUE OF A FLARE IGNITED UPON A BOUNDARY (1969), a piece that Weiner actually executed in Amsterdam for the Stedelijk Museum’s pivotal 1969 Conceptual art exhibition Op Losse Schroeven: Situaties en Cryptostructuren (Square Pegs in Round Holes: Structures and Cryptostructures), is poetic in its ability to evoke vivid imagery, while at the time suggesting coded systems of communication. Weiner gradually extended his engagement with language to ready-made structures, such as idioms, clichés, and proverbs, which underscore the contingent nature of meaning when encountered in different contexts.

    Source: cavetocanvas
    • 4 months ago
    • 109 notes
  • tuesday-johnson:

ca. 1850-60’s, [ambrotype portrait of a Freemason with a slight smile, wearing his Masonic regalia]
via Ebay

    tuesday-johnson:

    ca. 1850-60’s, [ambrotype portrait of a Freemason with a slight smile, wearing his Masonic regalia]

    via Ebay

    Source: tuesday-johnson
    • 4 months ago
    • 85 notes
  • courtenaybird:

Times Square Billboards — c. 1900 

    courtenaybird:

    Times Square Billboards — c. 1900 

    Source: retronaut.com
    • 4 months ago
    • 36 notes
    • 4 months ago
    • 4 months ago
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