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killthecurator:

Ellsworth Kelly
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onyxearth:

National Geographic  February  1965
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heracliteanfire:

from Cunrat von Megenberg, “Buch der Natur”, printed by J. Bämler, Augsburg. 1475, 1478, 1481 (via British Museum)
heracliteanfire:

from Cunrat von Megenberg, “Buch der Natur”, printed by J. Bämler, Augsburg. 1475, 1478, 1481 (via British Museum)
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shihlun:

Nobuyoshi Araki, ABCD, 2003.
ABCD is a facsimile of Araki’s four over-sized notebooks lettered thus, which house enlarged contact prints from 94 rolls of film made by him in the early `70s; each is numbered and sequenced in chronological order.
The developer used to develop these negatives was over-heated, causing the emulsion to reticulate and break apart in random fashion. The physical, degenerative effect on the images, lends itself to existential interpretation as if they had survived the blast. The reservoir of images is extracted from everyday life and in essence chronicles Araki’s experience. There is little epiphany in the interpretation of subject matter, shifting from generic urban landscape to sexual acts. The marriage of the mundane and the erotic is at the core of Araki’s canon and here, in 1972, he is laying the conceptual foundation for all future work.
shihlun:

Nobuyoshi Araki, ABCD, 2003.
ABCD is a facsimile of Araki’s four over-sized notebooks lettered thus, which house enlarged contact prints from 94 rolls of film made by him in the early `70s; each is numbered and sequenced in chronological order.
The developer used to develop these negatives was over-heated, causing the emulsion to reticulate and break apart in random fashion. The physical, degenerative effect on the images, lends itself to existential interpretation as if they had survived the blast. The reservoir of images is extracted from everyday life and in essence chronicles Araki’s experience. There is little epiphany in the interpretation of subject matter, shifting from generic urban landscape to sexual acts. The marriage of the mundane and the erotic is at the core of Araki’s canon and here, in 1972, he is laying the conceptual foundation for all future work.
shihlun:

Nobuyoshi Araki, ABCD, 2003.
ABCD is a facsimile of Araki’s four over-sized notebooks lettered thus, which house enlarged contact prints from 94 rolls of film made by him in the early `70s; each is numbered and sequenced in chronological order.
The developer used to develop these negatives was over-heated, causing the emulsion to reticulate and break apart in random fashion. The physical, degenerative effect on the images, lends itself to existential interpretation as if they had survived the blast. The reservoir of images is extracted from everyday life and in essence chronicles Araki’s experience. There is little epiphany in the interpretation of subject matter, shifting from generic urban landscape to sexual acts. The marriage of the mundane and the erotic is at the core of Araki’s canon and here, in 1972, he is laying the conceptual foundation for all future work.
shihlun:

Nobuyoshi Araki, ABCD, 2003.
ABCD is a facsimile of Araki’s four over-sized notebooks lettered thus, which house enlarged contact prints from 94 rolls of film made by him in the early `70s; each is numbered and sequenced in chronological order.
The developer used to develop these negatives was over-heated, causing the emulsion to reticulate and break apart in random fashion. The physical, degenerative effect on the images, lends itself to existential interpretation as if they had survived the blast. The reservoir of images is extracted from everyday life and in essence chronicles Araki’s experience. There is little epiphany in the interpretation of subject matter, shifting from generic urban landscape to sexual acts. The marriage of the mundane and the erotic is at the core of Araki’s canon and here, in 1972, he is laying the conceptual foundation for all future work.
shihlun:

Nobuyoshi Araki, ABCD, 2003.
ABCD is a facsimile of Araki’s four over-sized notebooks lettered thus, which house enlarged contact prints from 94 rolls of film made by him in the early `70s; each is numbered and sequenced in chronological order.
The developer used to develop these negatives was over-heated, causing the emulsion to reticulate and break apart in random fashion. The physical, degenerative effect on the images, lends itself to existential interpretation as if they had survived the blast. The reservoir of images is extracted from everyday life and in essence chronicles Araki’s experience. There is little epiphany in the interpretation of subject matter, shifting from generic urban landscape to sexual acts. The marriage of the mundane and the erotic is at the core of Araki’s canon and here, in 1972, he is laying the conceptual foundation for all future work.
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gurafiku:

Japanese Magazine: Koko Fund for Japan. NNNNY / Taeko Isu. 2012
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rosswolfe:

G. Klutsis, soccer poster for the 1928 Moscow Spartakiad (Bolshevik version of the Olympics). (via http://thecharnelhouse.org/2014/02/09/spartakiade-a-bolshevik-alternative-to-the-olympics/)
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thewomb:

DAAAM
thewomb:

DAAAM
thewomb:

DAAAM
thewomb:

DAAAM
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treebystream:

Kanamori Yoshio, Moonlit Landscape, Shôwa period, 1926-1989 
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darnyill:

Michael Fitzsimmons
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acopipa:

Afterparty, Re McBride
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magictransistor:

Garco the all-purpose functional humanoid robot (Walt Disnery & Garco), c. 1953.
magictransistor:

Garco the all-purpose functional humanoid robot (Walt Disnery & Garco), c. 1953.
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blastedheath:

printededitions
Patrick Caulfield (British, 1936-2005), She fled along the Avenue, 1973. Screenprint, 40.5 x 35.5 cm. Edition of 200.
via