christian-paul-kusch:

CHRISTIAN PAUL KUSCH 2014 ©
STADTHALLE AT KLEINFLECKEN
NEUMÜNSTER / GERMANY

christian-paul-kusch:

CHRISTIAN PAUL KUSCH 2014 ©

STADTHALLE AT KLEINFLECKEN

NEUMÜNSTER / GERMANY

At The Tivoli » Monterey Cypruss #igerssac #monterey #california #tivoli #blackandwhite (at First City Festival, Monterey, California)

“My altars are the mountains and the ocean.”
— Lord Byron (via flowsweetlywoodnote)

(via wastedseductions)

youmightfindyourself:

Which black train to take is matter of guesswork. They have no destination signs and no announcement of arrivals is made. Head car may be numbered to show its route, but number is often wrong. In confusion, passengers sometimes jump across track, and some are killed by express trains.

South African documentary photographer Ernest Cole critically subverts the operations of the archive. Cole has the ability to officially change his racial status from black to colored, due to ambiguities in the government’s methods of documenting and systematizing racial identification, in order to gain access to broader strata of society for his photographic project. Cole’s black-and-white photographs depict passbook arrests, police inspections, dehumanizing conditions in the diamond mines, “white only” signage in the city—images that would have been subject to censoring.

Cole, when stopped and questioned by authorities, masqueraded his photographs as documents of youth crime rather than as records of the violence of institutional apartheid policy. In this way, Cole’s negatives passed archivally. Presenting his work in the guise of documentary visual policing, Cole was able to leave South Africa with his negatives and go to the United States, where House of Bondage was published. This operation of critical camouflaging, of archival mimicry as a critical practice in the realm of photographic production, will fuel this examination of the ways in which the body is represented archivally in contemporary photography from South Africa.

From Ernest Cole’s book, House of Bondage.


"Best shop in Brighton" Nick Cave RT @artrepublic: @nickcave just popped in & chose this print

"Best shop in Brighton" Nick Cave RT : just popped in & chose this print

(via illbehappywhenimdead)

travel-by-fire:

Looking out of the bus window in the Kjölur plains.
travel-by-fire:

Looking out of the bus window in the Kjölur plains.
travel-by-fire:

Looking out of the bus window in the Kjölur plains.
travel-by-fire:

Looking out of the bus window in the Kjölur plains.
travel-by-fire:

Looking out of the bus window in the Kjölur plains.
travel-by-fire:

Looking out of the bus window in the Kjölur plains.

travel-by-fire:

Looking out of the bus window in the Kjölur plains.

(via amilliljossogskugga)



Dwight Frye uses bad judgement…………….Frankenstein (1931)



Dwight Frye uses bad judgement…………….Frankenstein (1931)

Dwight Frye uses bad judgement…………….Frankenstein (1931)

(via the-dark-city)

Future » Islands
I never post people but this band is good and I am petty and need to boast.
#futureislands #monterey #igerssac #california
That’s Samuel T. Herring losing his shit near where Jimi Hendrix lit hit kit on fire and changed music all those years ago. (at First City Festival, Monterey, California)

“We are all alone, born alone, die alone, and — in spite of True Romance magazines — we shall all someday look back on our lives and see that, in spite of our company, we were alone the whole way. I do not say lonely — at least, not all the time — but essentially, and finally, alone. This is what makes your self-respect so important, and I don’t see how you can respect yourself if you must look in the hearts and minds of others for your happiness.”
— Hunter S. Thompson   (via deliriumymoi)

(via wastedseductions)