պանիր կռուասան
demoniality:

Illustration by Ferenc Helbing for Keleti Mesék (Oriental Tales), 1914.
From the Abraxas Journal

demoniality:

Illustration by Ferenc Helbing for Keleti Mesék (Oriental Tales), 1914.

From the Abraxas Journal

faptop:

WHY AM I LAUGHING SO HARD WHY IS MY SENSE OF HUMOR THIS TERRIBLE

brucesterling:

*US embassy in Berlin, July 19, 2014
*More:
http://youtu.be/K866FXjjvdo
https://twitter.com/Lightartist

brucesterling:

*US embassy in Berlin, July 19, 2014

*More:

http://youtu.be/K866FXjjvdo

https://twitter.com/Lightartist

paysagemauvais:

The Triumph of Death, detail - Pieter Bruegel the Elder c. 1562 oil on panel 117 cm × 162 cm Museo del Prado, Madrid

paysagemauvais:

The Triumph of Death, detail - Pieter Bruegel the Elder
c. 1562
oil on panel
117 cm × 162 cm
Museo del Prado, Madrid

architectureofdoom:

Model for a City for Pilgrims, Mina, Kenzo Tange/Kenji Ekuan, 1974

architectureofdoom:

Model for a City for Pilgrims, Mina, Kenzo Tange/Kenji Ekuan, 1974

brudesworld:

"How Mordred was slain by Arthur, and how by him Arthur was hurt to the death."
 Arthur Rackham art from The Romance of King Arthur and His Knights of the Round Table, 1917

brudesworld:

"How Mordred was slain by Arthur, and how by him Arthur was hurt to the death."

Arthur Rackham art from The Romance of King Arthur and His Knights of the Round Table, 1917

archivemodernarchitecture:

Ministry of Justice, Brasilia, Brasil, 2008, © Nicolas Grospierre
Source

archivemodernarchitecture:

Ministry of Justice, Brasilia, Brasil, 2008, © Nicolas Grospierre

Source

museumuesum:

Maurizio Cattelan
A Perfect Day, 1999 

The piece existed solely on the evening of the opening and consisted in the presentation to the public of the gallerist Massimo De Carlo of Milan literally affixed to the wall by adhesive tape, that almost entirely covered him, like a grotesque but not less striking crucifixion.

museumuesum:

Maurizio Cattelan

A Perfect Day, 1999 

The piece existed solely on the evening of the opening and consisted in the presentation to the public of the gallerist Massimo De Carlo of Milan literally affixed to the wall by adhesive tape, that almost entirely covered him, like a grotesque but not less striking crucifixion.

arkitekcher:

Disgiunzione Verticale  |  BAM!Location: Milano, Italy

arkitekcher:

Disgiunzione Verticale  |  BAM!
Location: Milano, Italy

visual-poetry:

by thomas broomé
A paradox of non-place: a foreigner lost in a country he does not know (a ‘passing stranger’) can feel at home there only in the anonymity of motorways, service stations, big stores or hotel chains. For him, an oil company logo is a reassuring land-mark among the supermarket shelves he falls with relief on sanitary, household or food products validated by multinational brand names.
Non-Places: An Introduction to Supermodernity - Marc Augé (1992). (via besieging)
blushingcheekymonkey:

ueli berger - jura (1979-80)

blushingcheekymonkey:

ueli berger - jura (1979-80)

Street art continually reveals that no urban space is neutral: walls and street topography are boundaries for socially constructed zones and territories, and vertical space is regulated by regimes of visibility. Leaving a visual mark in public urban space is usually technically illegal and often performed as an act of non-violent civil disobedience. The artists understand that publically viewable space, normally regulated by property and commercial regimes for controlling visibility, can be appropriated for unconstrained, uncontainable, antagonist acts.
Martin Irvine The Work on the Street: Street Art and Visual Culture (2012)
exploregermanart:

Gustav Klimt, Fir Forest I, 1901

exploregermanart:

Gustav Klimt, Fir Forest I, 1901