timessquareblue:

Broadway at 45th Street, looking north, ca. 1977

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monster-brains:

Giuseppe Bernardino Bison – Pluto and a Harlequin in Hell, 18th-19th C 

http://monsterbrains.blogspot.com/2016/09/giuseppe-bernardino-bison-pluto-and.html

urban-tombraider:

Favourite shot of the place.

Abandoned sports center, Lanzarote, June 2016.
►flickr◄

transoptic:

Lucas Samaras, Mirrored Room. 1966.

insidedemoneye:

Something Weird
Herschell Gordon Lewis
1967

RIP

drakontomalloi:

Pieter Bruegel the Elder – The Suicide of Saul, detail. 1562

hiroag:

MOTORHEAD

critical-objects:

Minerva Cuevas is not subtle, but therein lies the great power of her work. The narratives of power and economy and brutality that she confronts and deconstructs are so intricate and politically fraught, that perhaps only work that packs such a visceral wallop can do the trick. In her ongoing project The Del Montte Campaign, Cuevas “rebrands” the iconic canned produce manufacturer to reflect its connections to the genocidal Guatemalan dictatorship of Efraín Ríos Montt, as well as its ongoing deadly labor violations—to which the U.S. conveniently turns a blind eye in the name of free trade. Her conceptually dense, medium-flexible installations are exhibited more and more frequently nowadays, but will the issues that mobilize them gain similar exposure? Or, when the labor-violating and uber-corporatized Guggenheim acquired one of Cuevas’ Del Montte label pieces last year, did it sap her project of some of its critical bite? Only time will tell.

Minerva Cuevas, Del Montte, 2003

Alberto Giacometti