Shit I find interesting and photos I like and stuff.
untrustyou:

Anna Ladd
Things I Told the Internet, But Didn’t Tell My Mom

untrustyou:

Anna Ladd

Things I Told the Internet, But Didn’t Tell My Mom

vicemag:

Weegee’s Pre-Photoshop Darkroom Distortions, from the VICE 2014 Photo Issue

vicemag:

Weegee’s Pre-Photoshop Darkroom Distortions, from the VICE 2014 Photo Issue

likeafieldmouse:

DeWain Valentine - The Sensual Substance of the Sky (2014)

All the work is about the sea and the sky. I would love to have somehow a magic saw, to cut out large chunks of ocean and sky and say, Here it is. —DeWain Valentine

booksfromthefuture:

Until the End of the RoadWang Zhi-Hong

they took my fuckin’ drugs

give me my fuckin’ drugs

zeroing:

Boring

free-parking:

Sinta Werner and Markus WüsteVersionen, 2009, wood, plaster, paint

Local art has reached a new pinnacle. 

zeroing:

Via
museumuesum:

Ed Ruscha

Chocolate Room, 1970
Chocolate on paper, 256 sheets, each: 27 1/2 x 17 7/8 in.; installation dimensions variable
For its debut at the 35th Venice Biennale in Italy, Chocolate Room originally consisted of 360 shingle-like sheets of paper silk-screened with chocolate and applied to the interior walls of the gallery space. Edward Ruscha was just starting to work with organic materials in his prints, using such unconventional substances as blood, gunpowder, or cherry juice instead of traditional inks. During the summer of 1970, curator Henry Hopkins invited Ruscha and several other artists to make a work for the American Pavilion as part of a survey of American printmaking with an on-site workshop. Many declined the invitation in protest against the Vietnam War; Ruscha intended to do the same, but eventually reconsidered. When Chocolate Room went on view in Venice, protesters etched anti-war slogans into the rich brown surfaces of Chocolate Room, leaving it to stand as a spontaneous anti-war monument, which Ruscha ultimately considered more effective than non-participation in the Biennale. In the summer heat, the heady smell of chocolate was particularly overwhelming and attracted a swarm of Venetian ants, which ate away at the work. MOCA acquired Chocolate Room in 2003 and silk-screens new chocolate panels each time it is installed.

museumuesum:

Ed Ruscha

Chocolate Room, 1970

Chocolate on paper, 256 sheets, each: 27 1/2 x 17 7/8 in.; installation dimensions variable

For its debut at the 35th Venice Biennale in Italy, Chocolate Room originally consisted of 360 shingle-like sheets of paper silk-screened with chocolate and applied to the interior walls of the gallery space. Edward Ruscha was just starting to work with organic materials in his prints, using such unconventional substances as blood, gunpowder, or cherry juice instead of traditional inks. During the summer of 1970, curator Henry Hopkins invited Ruscha and several other artists to make a work for the American Pavilion as part of a survey of American printmaking with an on-site workshop. Many declined the invitation in protest against the Vietnam War; Ruscha intended to do the same, but eventually reconsidered. When Chocolate Room went on view in Venice, protesters etched anti-war slogans into the rich brown surfaces of Chocolate Room, leaving it to stand as a spontaneous anti-war monument, which Ruscha ultimately considered more effective than non-participation in the Biennale. In the summer heat, the heady smell of chocolate was particularly overwhelming and attracted a swarm of Venetian ants, which ate away at the work. MOCA acquired Chocolate Room in 2003 and silk-screens new chocolate panels each time it is installed.