Amazing series (Plants and Animals) by Leipzig, Germany based photographer Claudia Angelmaier.
“Fichte”, 2004, c-print, 110×130 cm.

Amazing series (Plants and Animals) by Leipzig, Germany based photographer Claudia Angelmaier.

“Fichte”, 2004, c-print, 110×130 cm.

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“Blauracke”, 2004, c-print, 105×128 cm by Claudia Angelmaier.

“Blauracke”, 2004, c-print, 105×128 cm by Claudia Angelmaier.

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“Hirschkäfer”, 2004, C-print, 110×144 cm by Claudia Angelmaier.

“Hirschkäfer”, 2004, C-print, 110×144 cm by Claudia Angelmaier.

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Article illustration about Rem Koolhaas’ favorite pen for HollandsDiep Magazine by Jeremy Bierer.

Article illustration about Rem Koolhaas’ favorite pen for HollandsDiep Magazine by Jeremy Bierer.

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“Sans titre”, 2005, (Compressed cars) by Jeremy Bierer.

“Sans titre”, 2005, (Compressed cars) by Jeremy Bierer.

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“Talamak” by Toro y Moi. Beautiful song, beautiful video.

(via pitchfork.com)

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“Centre Pompidou is closed for holiday” by Thomas Mailaender.(via tinyvices.com)

“Centre Pompidou is closed for holiday” by Thomas Mailaender.

(via tinyvices.com)

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“Selfportrait #6” (50 colour photographs, produced by different photographic labs the world over) from 2002 by Jonathan Monk.

“Selfportrait #6” (50 colour photographs, produced by different photographic labs the world over) from 2002 by Jonathan Monk.

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“A growing Pile of Work” by Icelandic graphic designer Siggi Eggertsson.

“This is a video that is made from over 400 images that I created from 2003-2009. Bits and pieces from commercial, rejected and personal projects. I had been collecting all those images to use in a completely different project, but then discovered that they could look great in animation too. After painful days in After Effects, fighting with all those 400 layers (and nearly killing my computer), the video was complete.”

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Beautiful photographs by Jeremy O’Sullivan. See more here and check out this  interview with him on Picdit.
(via picdit)

Beautiful photographs by Jeremy O’Sullivan. See more here and check out this interview with him on Picdit.

(via picdit)

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Jeremy O’Sullivan.(via picdit)

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Jeremy O’Sullivan.(via picdit)

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Some nice graphic design work by french Atelier Aquarium for Maison des Jeunes et de la Culture.(via clik clk)

Some nice graphic design work by french Atelier Aquarium for Maison des Jeunes et de la Culture.

(via clik clk)

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“Shedboatshed (Mobile Architecture No 2)”, 2005 by Simon Starling.For “Shedboatshed” Starling dismantled a shed and turned it into a boat. Loaded with the remains of the shed, the boat was paddled down the Rhine to a museum in Basel, dismantled and re-made into a shed.

“Shedboatshed (Mobile Architecture No 2)”, 2005 by Simon Starling.

For “Shedboatshed” Starling dismantled a shed and turned it into a boat. Loaded with the remains of the shed, the boat was paddled down the Rhine to a museum in Basel, dismantled and re-made into a shed.

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“Collage pour homme (Claudia)”, 2002, 12.99 x 9.84 inches (left) and “Collage pour homme (Jennifer)”, 2001, 12.99 x 9.84 inches (right) by 
Pierre Bismuth.
“In Collages for Men, Bismuth has re-clothed pictures of naked women from pornographic magazines. By cutting white paper in the shape of clothes to fit over their bodies, the transformation is so misleading that it is hard to imagine these women were once naked. It is as if Bismuth misunderstands the purpose of pornography, suppressing any sense of lust that these pictures may have originally communicated. His intervention takes portraits of girls and transforms them into ‘suitably clothed’ women, yet despite Bismuth’s ‘censorship’, the use of soft focus and ‘erotic’ poses continue to associate these pictures with ‘glamour photography’.” (quoted from gallery statement)

“Collage pour homme (Claudia)”, 2002, 12.99 x 9.84 inches (left) and “Collage pour homme (Jennifer)”, 2001, 12.99 x 9.84 inches (right) by Pierre Bismuth.

“In Collages for Men, Bismuth has re-clothed pictures of naked women from pornographic magazines. By cutting white paper in the shape of clothes to fit over their bodies, the transformation is so misleading that it is hard to imagine these women were once naked. It is as if Bismuth misunderstands the purpose of pornography, suppressing any sense of lust that these pictures may have originally communicated. His intervention takes portraits of girls and transforms them into ‘suitably clothed’ women, yet despite Bismuth’s ‘censorship’, the use of soft focus and ‘erotic’ poses continue to associate these pictures with ‘glamour photography’.” (quoted from gallery statement)

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