Classical Records
Emily tolan/filmmaker

What's your secret?
Classical Records
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theparisreview:

“I’ve missed some very spectacular shots because I was needed during a bad storm or heavy fishing.”
—Corey Arnold, “Storm, Gulf of Alaska,” from “Fish-Work.”
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artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
artofthetitle:

New this week!
After an explosive opening, Saul Bass captures off-duty soldiers relaxing in a near-deserted Belgian village during World War II, for the main titles to Robert Aldrich’s 1956 film Attack.
Watch the Attack sequence on Art of the Title
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ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
ladyhawke81:

Outlander / 1x06 / Locations
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I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot

I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot

I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot

I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot

I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot

I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot

I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot

I can only legally refuse to hand you back to Randall if I change you from an English woman…to a Scot
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bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
bobbycaputo:

Estudio de Luz: A Study on Reflection and Transparency | Cristina Matos-Albers
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deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
deeperdream:

ladyinterior:

Magnificent Trees Around the World

Trees are fucking awesome, man.
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"A man of foot, on horseback or on a bicycle will see more, feel more, enjoy more in one mile than the motorized tourists can in a hundred miles." - Edward Abbey
"A man of foot, on horseback or on a bicycle will see more, feel more, enjoy more in one mile than the motorized tourists can in a hundred miles." - Edward Abbey
"A man of foot, on horseback or on a bicycle will see more, feel more, enjoy more in one mile than the motorized tourists can in a hundred miles." - Edward Abbey
"A man of foot, on horseback or on a bicycle will see more, feel more, enjoy more in one mile than the motorized tourists can in a hundred miles." - Edward Abbey
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history meme. ten moments: the funeral of Edward VII. 10 MAY 1910. His funeral at Windsor, following a procession through the streets of London, was one of the largest gatherings of European royalty ever to take place. It was also one of the last assemblies of its kind before the First World War shattered the bonds that united the interwoven monarchies. The conflict would destroy two of the most powerful royal houses and leave several of the others severely weakened as the political map of the continent was redrawn. (x)

history meme. ten moments: the funeral of Edward VII. 10 MAY 1910. His funeral at Windsor, following a procession through the streets of London, was one of the largest gatherings of European royalty ever to take place. It was also one of the last assemblies of its kind before the First World War shattered the bonds that united the interwoven monarchies. The conflict would destroy two of the most powerful royal houses and leave several of the others severely weakened as the political map of the continent was redrawn. (x)
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An award-winning book by London-based artists Adam Broomberg and Oliver Chanarin, Holy Bible continues to resonate—more so with the world seeming to slide toward the brink of collapse. The book was a co-publication, out in 2013, by Mack Books and the Archive of Modern Conflict, and it’s a compelling combination of images pulled from the archive and “pasted” on pages that exactly mimic the King James Version of the Bible. In addition to images, Broomberg and Chanarin have underlined certain phrases on each page in red, in order to highlight some of the repeated phrases (“And it came to pass”) and associations between the images and words on the page. Because of the strength of the associations made, and like the Bible itself, Broomberg and Chanarin’s Holy Bible could potentially serve as a reference manual of human depravity throughout the ages.

Featured in FeatureShoot
An award-winning book by London-based artists Adam Broomberg and Oliver Chanarin, Holy Bible continues to resonate—more so with the world seeming to slide toward the brink of collapse. The book was a co-publication, out in 2013, by Mack Books and the Archive of Modern Conflict, and it’s a compelling combination of images pulled from the archive and “pasted” on pages that exactly mimic the King James Version of the Bible. In addition to images, Broomberg and Chanarin have underlined certain phrases on each page in red, in order to highlight some of the repeated phrases (“And it came to pass”) and associations between the images and words on the page. Because of the strength of the associations made, and like the Bible itself, Broomberg and Chanarin’s Holy Bible could potentially serve as a reference manual of human depravity throughout the ages.

Featured in FeatureShoot
An award-winning book by London-based artists Adam Broomberg and Oliver Chanarin, Holy Bible continues to resonate—more so with the world seeming to slide toward the brink of collapse. The book was a co-publication, out in 2013, by Mack Books and the Archive of Modern Conflict, and it’s a compelling combination of images pulled from the archive and “pasted” on pages that exactly mimic the King James Version of the Bible. In addition to images, Broomberg and Chanarin have underlined certain phrases on each page in red, in order to highlight some of the repeated phrases (“And it came to pass”) and associations between the images and words on the page. Because of the strength of the associations made, and like the Bible itself, Broomberg and Chanarin’s Holy Bible could potentially serve as a reference manual of human depravity throughout the ages.

Featured in FeatureShoot
An award-winning book by London-based artists Adam Broomberg and Oliver Chanarin, Holy Bible continues to resonate—more so with the world seeming to slide toward the brink of collapse. The book was a co-publication, out in 2013, by Mack Books and the Archive of Modern Conflict, and it’s a compelling combination of images pulled from the archive and “pasted” on pages that exactly mimic the King James Version of the Bible. In addition to images, Broomberg and Chanarin have underlined certain phrases on each page in red, in order to highlight some of the repeated phrases (“And it came to pass”) and associations between the images and words on the page. Because of the strength of the associations made, and like the Bible itself, Broomberg and Chanarin’s Holy Bible could potentially serve as a reference manual of human depravity throughout the ages.

Featured in FeatureShoot
An award-winning book by London-based artists Adam Broomberg and Oliver Chanarin, Holy Bible continues to resonate—more so with the world seeming to slide toward the brink of collapse. The book was a co-publication, out in 2013, by Mack Books and the Archive of Modern Conflict, and it’s a compelling combination of images pulled from the archive and “pasted” on pages that exactly mimic the King James Version of the Bible. In addition to images, Broomberg and Chanarin have underlined certain phrases on each page in red, in order to highlight some of the repeated phrases (“And it came to pass”) and associations between the images and words on the page. Because of the strength of the associations made, and like the Bible itself, Broomberg and Chanarin’s Holy Bible could potentially serve as a reference manual of human depravity throughout the ages.

Featured in FeatureShoot
An award-winning book by London-based artists Adam Broomberg and Oliver Chanarin, Holy Bible continues to resonate—more so with the world seeming to slide toward the brink of collapse. The book was a co-publication, out in 2013, by Mack Books and the Archive of Modern Conflict, and it’s a compelling combination of images pulled from the archive and “pasted” on pages that exactly mimic the King James Version of the Bible. In addition to images, Broomberg and Chanarin have underlined certain phrases on each page in red, in order to highlight some of the repeated phrases (“And it came to pass”) and associations between the images and words on the page. Because of the strength of the associations made, and like the Bible itself, Broomberg and Chanarin’s Holy Bible could potentially serve as a reference manual of human depravity throughout the ages.

Featured in FeatureShoot
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MYTHS: SEERS
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donmittavittua:

'the sea is calling' - 233/365 (13/7/14) by Sergio Varanitsa
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Scottish-born, London-based visual artist Robert Montgomery loves to write in fire. Montgomery’s epic statement pieces are constructed from gigantic letters attached to a wooden platform, ready to be torched. The words aflame, his ideas come alive, sparked by their prophetic tone. The poems appear like floating fortunes, hovering in bold typeface, spelling out tales of ghosts and temporality, horses and palaces, situations seeped in apprehensive futures. The destructions of comfort, foreshadowing the obliteration of power structures and the rise of beauty. The act of setting them on fire is also, whether intentional or not, a nod to the finite nature of art and installation work. It echoes the premise of destruction as the highest form of creation.
Montgomery has also shown many of the same pieces in “recycled sunlight,” or through batteries charged via solar panels, illuminating at night. This electric voice speaking softly within the crowded streets adds a beautiful dimension to the art. Some of his pieces, put up as billboards around London’s east end, look like advertising at first glance. It is this interplay that is exactly what draws Montgomery to anonymous installation as his primary method of display:

“I’m definitely interested in hijacking advertising space for a different kind of conversation. I think it’s really interesting to use that space for a sort of interior voice. A voice in the private sphere. When I started putting my art on  billboards, people told me, “You can’t put a hundred words on a billboard. No one will read that.” (Source)

Well, he certainly has our attention now.

From Beautiful/Decay
Scottish-born, London-based visual artist Robert Montgomery loves to write in fire. Montgomery’s epic statement pieces are constructed from gigantic letters attached to a wooden platform, ready to be torched. The words aflame, his ideas come alive, sparked by their prophetic tone. The poems appear like floating fortunes, hovering in bold typeface, spelling out tales of ghosts and temporality, horses and palaces, situations seeped in apprehensive futures. The destructions of comfort, foreshadowing the obliteration of power structures and the rise of beauty. The act of setting them on fire is also, whether intentional or not, a nod to the finite nature of art and installation work. It echoes the premise of destruction as the highest form of creation.
Montgomery has also shown many of the same pieces in “recycled sunlight,” or through batteries charged via solar panels, illuminating at night. This electric voice speaking softly within the crowded streets adds a beautiful dimension to the art. Some of his pieces, put up as billboards around London’s east end, look like advertising at first glance. It is this interplay that is exactly what draws Montgomery to anonymous installation as his primary method of display:

“I’m definitely interested in hijacking advertising space for a different kind of conversation. I think it’s really interesting to use that space for a sort of interior voice. A voice in the private sphere. When I started putting my art on  billboards, people told me, “You can’t put a hundred words on a billboard. No one will read that.” (Source)

Well, he certainly has our attention now.

From Beautiful/Decay
Scottish-born, London-based visual artist Robert Montgomery loves to write in fire. Montgomery’s epic statement pieces are constructed from gigantic letters attached to a wooden platform, ready to be torched. The words aflame, his ideas come alive, sparked by their prophetic tone. The poems appear like floating fortunes, hovering in bold typeface, spelling out tales of ghosts and temporality, horses and palaces, situations seeped in apprehensive futures. The destructions of comfort, foreshadowing the obliteration of power structures and the rise of beauty. The act of setting them on fire is also, whether intentional or not, a nod to the finite nature of art and installation work. It echoes the premise of destruction as the highest form of creation.
Montgomery has also shown many of the same pieces in “recycled sunlight,” or through batteries charged via solar panels, illuminating at night. This electric voice speaking softly within the crowded streets adds a beautiful dimension to the art. Some of his pieces, put up as billboards around London’s east end, look like advertising at first glance. It is this interplay that is exactly what draws Montgomery to anonymous installation as his primary method of display:

“I’m definitely interested in hijacking advertising space for a different kind of conversation. I think it’s really interesting to use that space for a sort of interior voice. A voice in the private sphere. When I started putting my art on  billboards, people told me, “You can’t put a hundred words on a billboard. No one will read that.” (Source)

Well, he certainly has our attention now.

From Beautiful/Decay
Scottish-born, London-based visual artist Robert Montgomery loves to write in fire. Montgomery’s epic statement pieces are constructed from gigantic letters attached to a wooden platform, ready to be torched. The words aflame, his ideas come alive, sparked by their prophetic tone. The poems appear like floating fortunes, hovering in bold typeface, spelling out tales of ghosts and temporality, horses and palaces, situations seeped in apprehensive futures. The destructions of comfort, foreshadowing the obliteration of power structures and the rise of beauty. The act of setting them on fire is also, whether intentional or not, a nod to the finite nature of art and installation work. It echoes the premise of destruction as the highest form of creation.
Montgomery has also shown many of the same pieces in “recycled sunlight,” or through batteries charged via solar panels, illuminating at night. This electric voice speaking softly within the crowded streets adds a beautiful dimension to the art. Some of his pieces, put up as billboards around London’s east end, look like advertising at first glance. It is this interplay that is exactly what draws Montgomery to anonymous installation as his primary method of display:

“I’m definitely interested in hijacking advertising space for a different kind of conversation. I think it’s really interesting to use that space for a sort of interior voice. A voice in the private sphere. When I started putting my art on  billboards, people told me, “You can’t put a hundred words on a billboard. No one will read that.” (Source)

Well, he certainly has our attention now.

From Beautiful/Decay
Scottish-born, London-based visual artist Robert Montgomery loves to write in fire. Montgomery’s epic statement pieces are constructed from gigantic letters attached to a wooden platform, ready to be torched. The words aflame, his ideas come alive, sparked by their prophetic tone. The poems appear like floating fortunes, hovering in bold typeface, spelling out tales of ghosts and temporality, horses and palaces, situations seeped in apprehensive futures. The destructions of comfort, foreshadowing the obliteration of power structures and the rise of beauty. The act of setting them on fire is also, whether intentional or not, a nod to the finite nature of art and installation work. It echoes the premise of destruction as the highest form of creation.
Montgomery has also shown many of the same pieces in “recycled sunlight,” or through batteries charged via solar panels, illuminating at night. This electric voice speaking softly within the crowded streets adds a beautiful dimension to the art. Some of his pieces, put up as billboards around London’s east end, look like advertising at first glance. It is this interplay that is exactly what draws Montgomery to anonymous installation as his primary method of display:

“I’m definitely interested in hijacking advertising space for a different kind of conversation. I think it’s really interesting to use that space for a sort of interior voice. A voice in the private sphere. When I started putting my art on  billboards, people told me, “You can’t put a hundred words on a billboard. No one will read that.” (Source)

Well, he certainly has our attention now.

From Beautiful/Decay