13
Sep 17

abstrackafricana:

Doc Ellis, on acid, pitches a no hitter.


4
Sep 17

blackscab:

Indian Jewelry - Nonetheless

this is a good song to have stuck in yr head


1595
Sep 17
nevver:

Walk this way

376
Sep 16
gallowhill:

Nam June Paik, Zen for Head, 1962

gallowhill:

Nam June Paik, Zen for Head, 1962


10
Sep 16
The "Banking" Concept of Education - Paulo Freire

268
Sep 16
I feel this so much. Every day I think A LOT about this.

I feel this so much. Every day I think A LOT about this.

(Source: fuckyeahanarchopunk)


34
Sep 16
depredando:

Artista: Diego Rivera Nome da obra: “Frozen Assets” Parida em: 1931 Dimensão: 188.5 x 239 cm Exposto em:  Museo Dolores Olmedo Patino,  Mexico City, Mexico Wikipaintigs:  “In Frozen Assets, Rivera coupled his appreciation for New York’s distinctive vertical architecture with a potent critique of the city’s economic inequities. The panel’s upper register features a dramatic sequence of largely recognizable skyscrapers, most completed within a few years of Rivera’s arrival in New York. In the middle section, a steel-and-glass shed serves as a shelter for rows of sleeping men, pointing to the dispossessed labor that made such extraordinary growth possible during a period of economic turmoil. Below, a bank’s waiting room accommodates a guard, a clerk, and a trio of figures eager to inspect their mounting assets in the vault beyond. Rivera’s jarring vision of the city—in which the masses trudge to work, the homeless are warehoused, and the wealthy squirrel away their money—struck a chord in 1932, in the midst of the Great Depression.”

depredando:

Artista: Diego Rivera
Nome da obra: “Frozen Assets”
Parida em: 1931
Dimensão: 188.5 x 239 cm

Exposto em:
Museo Dolores Olmedo Patino,
Mexico City, Mexico

Wikipaintigs:

“In Frozen Assets, Rivera coupled his appreciation for New York’s distinctive vertical architecture with a potent critique of the city’s economic inequities. The panel’s upper register features a dramatic sequence of largely recognizable skyscrapers, most completed within a few years of Rivera’s arrival in New York. In the middle section, a steel-and-glass shed serves as a shelter for rows of sleeping men, pointing to the dispossessed labor that made such extraordinary growth possible during a period of economic turmoil. Below, a bank’s waiting room accommodates a guard, a clerk, and a trio of figures eager to inspect their mounting assets in the vault beyond. Rivera’s jarring vision of the city—in which the masses trudge to work, the homeless are warehoused, and the wealthy squirrel away their money—struck a chord in 1932, in the midst of the Great Depression.”


97665
Sep 16
itsnotahomelesslifeforme:

synthetikweekend:

objectoccult:

Before the availability of the tape recorder and during the 1950s, when vinyl was scarce, people in the Soviet Union began making records of banned Western music on discarded x-rays. With the help of a special device, banned bootlegged jazz and rock ‘n’ roll records were “pressed” on thick radiographs salvaged from hospital waste bins and then cut into discs of 23-25 centimeters in diameter. “They would cut the X-ray into a crude circle with manicure scissors and use a cigarette to burn a hole,” says author Anya von Bremzen. “You’d have Elvis on the lungs, Duke Ellington on Aunt Masha’s brain scan — forbidden Western music captured on the interiors of Soviet citizens.”

SO AMAZING.

WOWOW

itsnotahomelesslifeforme:

synthetikweekend:

objectoccult:

Before the availability of the tape recorder and during the 1950s, when vinyl was scarce, people in the Soviet Union began making records of banned Western music on discarded x-rays. With the help of a special device, banned bootlegged jazz and rock ‘n’ roll records were “pressed” on thick radiographs salvaged from hospital waste bins and then cut into discs of 23-25 centimeters in diameter. “They would cut the X-ray into a crude circle with manicure scissors and use a cigarette to burn a hole,” says author Anya von Bremzen. “You’d have Elvis on the lungs, Duke Ellington on Aunt Masha’s brain scan — forbidden Western music captured on the interiors of Soviet citizens.”

SO AMAZING.

WOWOW


24
Sep 16
thespectraldimension:

Charles Swedlund: Untitled (1973)

thespectraldimension:

Charles Swedlund: Untitled (1973)


105
Sep 16
thespectraldimension:

Friedrich Schröder-Sonnenstern: The Mass Demon (1954)

thespectraldimension:

Friedrich Schröder-Sonnenstern: The Mass Demon (1954)


393
Sep 16
fuckyeahmarxismleninism:

Franz Fanon

141
Sep 16
k-a-t-i-e-:

Mikey Dread

k-a-t-i-e-:

Mikey Dread


25
Sep 16
hyperallergic:

(via Exhuming the Artistic Afterlife from One of NYC’s Historic Cemeteries)
Up in the Bronx, at the end of the line of the 4 train, is a “remarkable museum of American funerary art,” as the wall text for Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn at Columbia University’s Miriam and Ira D. Wallach Art Gallery puts it. That “remarkable museum” is Woodlawn Cemetery, and the exhibition makes a case for it as a major resource of architecture and decorative arts history in New York City.
READ MORE

hyperallergic:

(via Exhuming the Artistic Afterlife from One of NYC’s Historic Cemeteries)

Up in the Bronx, at the end of the line of the 4 train, is a “remarkable museum of American funerary art,” as the wall text for Sylvan Cemetery: Architecture, Art and Landscape at Woodlawn at Columbia University’s Miriam and Ira D. Wallach Art Gallery puts it. That “remarkable museum” is Woodlawn Cemetery, and the exhibition makes a case for it as a major resource of architecture and decorative arts history in New York City.

READ MORE


12
Sep 16
buttondownmoda:

Cannonball Adderley.
Plus 2 cool cats on the left.

buttondownmoda:

Cannonball Adderley.
Plus 2 cool cats on the left.


6
Sep 16
konkretejungle:

#ItTakesTuesday with Reggie and Ronnie…

Kray Twins.

konkretejungle:

#ItTakesTuesday with Reggie and Ronnie…

Kray Twins.