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buzzfeed:

Easily the best part of the VMAs.

buzzfeed:

Easily the best part of the VMAs.

(Source: twitter.com, via shock-wavewhispers)

This was posted 1 week ago. It has 94,213 notes. .

Anne Greene Kelly

(Source: aidankoch, via n-op)

This was posted 1 week ago. It has 91 notes.

artdetails:

Details of tilework, Gurgi Mosque, Tripoli, Libya, ca. 1834

(via citrum)

This was posted 1 week ago. It has 3,684 notes.
20aliens:

Jasmine Deporta

20aliens:

Jasmine Deporta

(via dauui)

This was posted 2 weeks ago. It has 1,831 notes. .

(Source: pauljungdiary, via contagium)

This was posted 2 weeks ago. It has 9,913 notes. .

(Source: elliotfreeman1, via nuodai)

This was posted 2 weeks ago. It has 1,569 notes. .
tierradentro:

“The Clown”, 1943, Henri Matisse.

tierradentro:

The Clown”, 1943, Henri Matisse.

(via alert)

This was posted 3 weeks ago. It has 679 notes. .
1000scientists:

#8 Water and Persian Rugs, 2004Jalal Sepehr

1000scientists:

#8 Water and Persian Rugs, 2004
Jalal Sepehr

(via paroxisms)

This was posted 3 weeks ago. It has 8,242 notes. .

tangerine15:

A short animated film I made for my final project at the California State Summer School for the Arts (CSSSA).

This is the first finished animated film I have ever made, and we were given 6 days to make it (from concept to finish).

^^^^ watch my film

This was posted 3 weeks ago. It has 37 notes.
lehroi:

Occupy Parking Lots (with Persian Rugs), 2012.
Jogging

lehroi:

Occupy Parking Lots (with Persian Rugs), 2012.

Jogging

(Source: champagnepapucho, via hswoon)

This was posted 3 weeks ago. It has 11,055 notes. .
euo:

dedos by nuncamasloca on Flickr.

euo:

dedos by nuncamasloca on Flickr.

(via cluts)

This was posted 3 weeks ago. It has 454 notes. .

(Source: Flickr / zelnunes, via hswoon)

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colin-vian:

  Modigliani, nudo seduto (1916)

colin-vian:

  Modigliani, nudo seduto (1916)

(via dauui)

This was posted 3 weeks ago. It has 528 notes. .
e-hoe:

cistro:

drrun:

sureall:

anidote:

mellifluis:

odiant:

hommesessed:

thedevilwearslaurent:

mhsteger:

Composition with Red, Yellow and Blue (1928) by Piet Mondrian (born 7 March 1872; died 1 February, 1944); in the collection of the  Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany.
'Mondrian did not consider his paintings and their guiding principles merely to be articulations of a personal expression or style.  Rather, he saw them as neutral and “objective” and hence as available—indeed, “recommended”—to all practitioners in the visual arts.  He was one of the first avant-garde artists to speculate about the obsolescence of easel painting and, in this sense, he adduced a Hegelian linkage between artistic autonomy and the end of art.  The casualty within his theory is the value of “personal expression,” one that usually is positively associated with the avant-garde.  Although this notion of self-expression may be historically understood as the egalitarian offspring of the older, more elitist, notion of genius, it remains a mandate for the artist to follow his private vision and forge an individual style.  For the utopian ambitions of Mondrian, however, this “subjectivity” works against the “objective historical fact” of the discovery and articulation of artistic universals.  Personal expression, then, unless at the service of these universals, is viewed as decadent or arbitrary.’

—from Art and Concept: A Philosophical Study, by Lucian Krukowsky (1987)

e-hoe:

cistro:

drrun:

sureall:

anidote:

mellifluis:

odiant:

hommesessed:

thedevilwearslaurent:

mhsteger:

Composition with Red, Yellow and Blue (1928) by Piet Mondrian (born 7 March 1872; died 1 February, 1944); in the collection of the Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany.

'Mondrian did not consider his paintings and their guiding principles merely to be articulations of a personal expression or style.  Rather, he saw them as neutral and “objective” and hence as available—indeed, “recommended”—to all practitioners in the visual arts.  He was one of the first avant-garde artists to speculate about the obsolescence of easel painting and, in this sense, he adduced a Hegelian linkage between artistic autonomy and the end of art.  The casualty within his theory is the value of “personal expression,” one that usually is positively associated with the avant-garde.  Although this notion of self-expression may be historically understood as the egalitarian offspring of the older, more elitist, notion of genius, it remains a mandate for the artist to follow his private vision and forge an individual style.  For the utopian ambitions of Mondrian, however, this “subjectivity” works against the “objective historical fact” of the discovery and articulation of artistic universals.  Personal expression, then, unless at the service of these universals, is viewed as decadent or arbitrary.’

—from Art and Concept: A Philosophical Study, by Lucian Krukowsky (1987)

This was posted 3 weeks ago. It has 255 notes. .

(Source: e53363, via cluts)

This was posted 4 weeks ago. It has 177,227 notes. .