Piet Hein, Cutouts Of The Super-ellipse, 1966

@wohsbaby

Mònica Subidé (Spanish, b. 1974), La casa, 2018. Oil, pencil and collage on wood, 36 x 50 cm

Anok Yai photographed by Nadine Ijewere for Vogue US, March 2020

Cy Twombly: Grey Paintings, Galerie Art in Progress, München, 1975

/ l’Altissimo /

Larry Poons, Photo by Hollis Frampton, 1963

Hermitage of Santo Cristo, Coruña del Conde, Burgos, Castile and León, Spain. VIA.

Vista parcial del salón con tragaluz sobre rocas cubiertas vegetales, Casa Juan O'Gorman, av. San Jerónimo 162, Jardines del Pedregal, San Ángel, Ciudad de México 1952  (demolido)  Arq. Juan O’Gorman

Arq. Juan O'Gorman

Partial view of living room with skylight over plant covered rocks, Juan O’Gorman House, av. San Jeronimo 162, Gardens of Pedregal, San Angel, Mexico City 1952 (demolished)

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Dmitry Vyshemirsky

Spinning Chirstmas Tree, New York City, 1977

Considering himself as a ‘street photographer’ this piece of work is unusual to be showing up in his collection of photographs. This photo was clearly taken with a slow shutter speed, capturing most of the colourful light but blurring the ornaments and lights.  Although Pattern is suppose to create a sense of unity, in this case it opposes that; there are multiple different patterns showing up throughout the photograph, however they are all different. The different patterns are 'fighting’ one another and just create conflict in the photograph. The converging lines of the two walls meeting together draw your eyes straight to the focal point: the tree. 

Imaginary evil is romantic and varied; real evil is gloomy, monotonous, barren, boring. Imaginary good is boring; real good is always new, marvelous, intoxicating.

Simone Weil, Gravity and Grace (via philosophybits)