Alexschi - White.wine

Kristjana S Williams

​"Sometimes you see something so absolutely the opposite of your usual style that it stops you in your tracks and makes you smile.  And perhaps even m​akes you question what you thought you liked.​​ I am a minimalist and a modernist, I like calm; I like grey.  I like simplicity; I like the understated; I like quiet clean lines and white space.  But then along came Kristjana S Williams“ ~ Katie Treggiden, Confessions of a Design Geek

Andrew Faris

From the artists statement: “My thinking is this: In an increasingly complex and competitive society sternly ruled by technology and stainless robotic hands, there is impassioned need for artistic respite. Simplicity, it has been said, is the essence of beauty. I couldn’t agree more.”

Images and text via Andrew Faris

😂😂😂😂😉

Sunday Dalí: The Phenomenon of Ecstasy, 1933. Collage.

From Ego Is A Rat On A Sinking Ship:

The woman sought by the Surrealist, then, was not conceived of as one who would avoid exploitation at all. It was just that Surrealism offered what it thought was an alternative exploitation to that of bourgeois society. One expression of this alternative can be seen in Salvador Dalí’s Phénomène de l’extase, a collage showing various enraptured female faces, many of which were taken from Charcot’s photographs. The image originally followed a text by Dalí on the apparently irrational component of art nouveau architecture, parts of which alluded to sculptural details of girls and angels in rhapsodic abandon on the buildings of Antoni Gaudí. “Continuous erotic ecstasy,” wrote the artist, leads to “contractions and attitudes without precedent in the history of statuary.” He continued in a subsection also entitled “Phénomène de l’extase” that “the repugnant can be transformed into the beautiful” through such ecstasy.1 The transformation of the perception of art, architecture, and most other forms of modern life was thus dependent upon the continuous excitation of ecstasy. The sexual abandon of the female hysterics in the collage was one way of accommodating such a desire.2

Salvador Dalí, “De la beauté terrifiante et comestible de l’architecture Modern’ style,” Minotaure 3-4 (12 December 1933), 69-76. ↩

Robert James Belton, The Beribboned Bomb: The Image of Woman in Male Surrealist Art, 249. ↩

Amazing Winners of the 2018 Underwater Photographer of the Year Contest

Kyz Kala, a 7th-century CE fortress outside of the city of Merv (in modern day Turkmenistan). Although now off the beaten path, Merv was a central trade city along the Silk Roads because it was near a key oasis in the dry central Asian environment. By the twelfth century, it was one of the largest cities in the world, containing perhaps 200,000 people. When the Mongols arrived in the 1220s, they supposedly slaughtered almost the entire population of the city, and Merv never regained its prominence.

Le Corbusier, Villa Jeanneret-Perret (Maison Blanche), La Chaux-de-Fonds, 1912 sources: Girard-Perregaux at Watchonista Association Maison Blanche

A Visual Voyage (Part 3) A Visual Voyage (Part 3)

From the artist:

The third part of my journey through shapes and colors.The photographs were made in the cities ofBerlin, Essen, Potsdam,Oslo, and Prague.

Images and text via

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