The Most Beautiful Suicide
On May Day, just after leaving her fiancé, 23-year-old Evelyn McHale wrote a note. ‘He is much better off without me … I wouldn’t make a good wife for anybody,’ … Then she crossed it out. She went to the observation platform of the Empire State Building. Through the mist she gazed at the street, 86 floors below. Then she jumped. In her desperate determination she leaped clear of the setbacks and hit a United Nations limousine parked at the curb. Across the street photography student Robert Wiles heard an explosive crash. Just four minutes after Evelyn McHale’s death Wiles got this picture of death’s violence and its composure. The serenity of McHale’s body amidst the crumpled wreckage it caused is astounding. Years later, Andy Warhol appropriated Wiles’ photography for a print called Suicide (Fallen Body).
(Source: addicted-to-dopamine, via highwayaisle)
Paul Newman and Joanne Woodward
This makes me simultaneously sad and happy, I’m not sure why.
(via nuuro)
(Source: today, via highwayaisle)
The Lions Mane Jellyfish is the largest jellyfish in the world. They have been swimming in arctic waters since before the dinosaurs (over 650 million years ago) and are among some of the oldest surviving species in the world.
The largest can come in at about 6 meters and has tentacles over 50 meters long. Pretty amazing when you think these things have been swimming around for so long.
They have hundreds of poisonous tentacles that it used to catch passing by fish. it then slowly drags in it’s prey and eats it.
(via goosebumpsfitsandmalaria)
by Pierre Dal Corso
The Antwerp Six: Ann Demeulemeester, Dirk Van Saene, Marina Yee, Dries Van Noten, Walter Van Beirendonck and Dirk Bikkembergs.
(Source: explicateur, via thefinalact)
Paradise Lost by Steven Klein, Dutch Magazine (2002), styling by Panos Yiapanis
Mass, shot by Sidney Lo.
(Editor’s note: Cotdamn Raf motos…)
Do You Know What I Mean by Juergen Teller
…It was unusual and powerful. It was clear that he was putting people in some kind of danger. There was no concern for classical beauty, but it took people somewhere else…
When Juergen starts to shoot he shoots constantly. It’s like a form of intrusion. You almost feel trapped. That’s how he manages to capture those completely uncontrolled moments because he literally traps you in his camera…
That’s how he gets those intimate moments, those unconscious movements of the body and mind. He doesn’t give you the time to organize your own mise en scène. He doesn’t give you time to think about what you are going to do. He anticipates the slightest of your movements, the slightest of your inner thoughts, and that’s how he manages to capture this incredible truth in bodies, in faces. He tries to avoid any conscious expression…
I’m not the biggest fan of Juergen Teller but whatever, this was nice.
(Via History of Our World)
Splitting, 1974. Black and white photo collage by Gordon Matta-Clark
“I don’t know what the word “space” means…I keep using it. But I’m not quite sure what it means.” – Gordon Matta-Clark.
From 1971 until his death in 1978, the American artist Gordon Matta-Clark produced a body of work popularly known the “building cuts”; sculptural transformations of abandoned buildings paradoxically constructed through the cutting and virtual dismantling of a given architectural site. Situated in places ranging from slums in Manhattan to the waterfront of Antwerp, these works, long since destroyed, appear to comply with the most canonical assumptions of site-specific art in the seventies. On the one hand they demonstrate the commonly accepted notion that the place where the artwork is encountered necessarily conditions its reception, foregrounding as they do the the localized dynamics between institutions, property values and works of art. On the other hand Matta-Clark’s cuttings address the temporality of the built environment, marking the destruction of the buildings that effectively constituted such places.
To read the personal testimonials on Matta-Clark’s work is to sense the experimental limitations of these models, for what marks these accounts is a certain failure of description that attends to the dizzying, at times overwhelming, experience of the building cuts; their unsettling shifts in scale, their Piranesiesque irruptions into architectural mass, their vertiginous drops and labyrinthine passages, their gaping holes, each affording the most disorientating vistas.
(Via History of Our World)
Church Musician, Suburbs of São Paulo 1998 by Lalo de Almeida
I shot this picture while on assignment for the newspaper Folha de S.Paulo about the borders of São Paulo, a city of over 11 million people. My idea was to visit the extremes, from South to North, from East to West. The North border was a neighborhood called Jardim Paraná and when I visited for the first time in 1998 it has just been occupied by homeless people, mostly migrants from the Northeast of Brazil. While I walking on an unpaved street I saw this boy carrying his guitar leaving from a small Evangelical church. Ten years, later, in 2008, I came back to the same place. The street was paved, the church was much bigger, but the boy, now a man, was still playing guitar in the same church.
(Via Verve Photo)
by Jing Quek, for 1000 Singapores
The Singapore Pavillion at this year’s Venice Biennale discusses Singapore as a model of the Compact City. If one Singapore is capable of housing 6.5m on 710 sqkm, then 1000 Singapores can house the entire world using only 0.5% of the Earth’s Land Area. This makes us a compelling model for the fast expanding cities of the world.
(Visit 1000 Singapores)
