(Source: dramapot)

chalkandwater:

Sand mandala at Thikse Monastery, Ladakh, India.

Samsara (2011)

(via mecha-cat)

(via xxsasuke)

yu-fukagawa:

小豆島 夕涼み空き地ごはん 2014.8.16|チラシ

yu-fukagawa:

小豆島 夕涼み空き地ごはん 2014.8.16|チラシ

(via architectureofhappiness)

(Source: spiraphobia, via charlottefree)

alexanderbolanos:

archivesofamericanart:

Meet Toshiko Takaezu: a potter who (like all potters) was not afraid to play with fire. In our oral history interview with her, she reflects on why she became a potter:

…the impact that I got from women potters, the strength that you could feel, the strength that is in the pot, made me feel that I really like this…and to have such an impression that I got from the pottery that the women made and the force that they had with the piece, and they didn’t make to have it in the galleries and the museum, they make because they can use it.

- Oral history interview with Toshiko Takaezu, 2003 June 16
Original, un-gif-ed image:
Toshiko Takaezu throwing a ceramic pot, 1974 / Evon Streetman, photographer. Toshiko Takaezu papers, Archives of American Art, Smithsonian Institution.

A major influence, so much respect for this tiny woman.

alexanderbolanos:

archivesofamericanart:

Meet Toshiko Takaezu: a potter who (like all potters) was not afraid to play with fire. In our oral history interview with her, she reflects on why she became a potter:

…the impact that I got from women potters, the strength that you could feel, the strength that is in the pot, made me feel that I really like this…and to have such an impression that I got from the pottery that the women made and the force that they had with the piece, and they didn’t make to have it in the galleries and the museum, they make because they can use it.

- Oral history interview with Toshiko Takaezu, 2003 June 16

Original, un-gif-ed image:

Toshiko Takaezu throwing a ceramic pot, 1974 / Evon Streetman, photographer. Toshiko Takaezu papers, Archives of American Art, Smithsonian Institution.

A major influence, so much respect for this tiny woman.

(via growingback)

longoland:

unfinished - part of a triptych Acrylic, Ink, / 201422in x 30in , 56cm x 76cm

longoland:

unfinished - part of a triptych Acrylic, Ink, / 2014
22in x 30in , 56cm x 76cm

sosuperawesome:

Party Animals by PaintedParade

(via aleatoryalarmalligator)

artagainstsociety:

Drawings by Zak Smith

(via gvitollo)

stagedandconstructed:

Prue Stent

From her series Pink

PRUE Stent is a 20 year old photographic student at RMIT University, Melbourne. The themes of her photography center around femininity and the struggle of identity in women. The color pink is used to represent femininity either physically or emotionally throughout her work.

Her Pink series conjures up feelings of feminine beauty. Stent uses the element of colour to question society’s standard of beauty; breasts, buttocks, and lips are slathered with pink paint; perhaps to illustrate these commodities are a woman’s own. Her images are dynamic, filled with movement.

(via lustik)