(Source: prisonersofthesun, via 1016)

(Source: funkyfreshkids, via dirtyprettything)

likeafieldmouse:

Charles Ray - Bench (1974)

likeafieldmouse:

Charles Ray - Bench (1974)

(via curlupdeadleaf)

weepling:

The Hospital

weepling:

The Hospital

(Source: excdus, via kolps)

"Sometimes we enter art to hide within it. It is where we can go to save ourselves, where a third-person voice protects us."

Michael Ondaatje (via misswallflower)

(Source: umanesimo, via kolps)

urbain:

Carlo Scarpa, Olivetti Showroom, Venise, 1958

urbain:


Carlo Scarpa, Olivetti Showroom, Venise, 1958

(Source: fiore-rosso, via 1016)

everyartisthasabday:

Marina Abramović and Ulay sat as one, sharing a braid, for 16 hours. Only for the final hour did they allow an audience.

Even while staying still, how much did they change over time?

(Relation in Time, 1977)

(via curlupdeadleaf)

likeafieldmouse:

Picture House

likeafieldmouse:

Picture House

(via darkblackpages)

vaginal-erection:

same

(Source: floresenelatico, via curlupdeadleaf)

atavus:

Fredrik Skåtar - Vibration Mirror, 2010

(via an-artful-life)

oldhollywood:

Days of Heaven (1978, dir. Terrence Malick)
"At Malick’s insistence certain parts of the film were made at what he calls the ‘magic hour’, that is, the time between sunset and nightfall. From the point of view of luminosity, this period lasts about twenty minutes, so that calling it a ‘magic hour’ is an optimistic euphemism. 
The light really was very beautiful, but we had little time to film scenes of long duration. All day we would work to get the actors and the camera ready; as soon as the sun had set we had to shoot quickly, not losing a moment. For these few minutes the light is truly magical, because no one knows where it is coming from. The sun is not to be seen, but the sky can be bright, and the blue of the atmosphere undergoes strange mutations.
 Malick’s intuition and daring probably made these scenes the most interesting ones visually in the film. And it takes daring to convince the Hollywood old guard that the shooting day should last only twenty minutes. Even though we took advantage of this short space of time with a kind of frenzy, we often had to finish the scene the next day at the same time, because night would fall inexorably. Each day, like Joshua in the Bible, Malick wanted to stop the sun in its imperturbable course so as to go on shooting.” 
-excerpted from A Man with a Camera, the autobiography of Days of Heaven cinematographer Néstor Almendros

oldhollywood:

Days of Heaven (1978, dir. Terrence Malick)

"At Malick’s insistence certain parts of the film were made at what he calls the ‘magic hour’, that is, the time between sunset and nightfall. From the point of view of luminosity, this period lasts about twenty minutes, so that calling it a ‘magic hour’ is an optimistic euphemism.

The light really was very beautiful, but we had little time to film scenes of long duration. All day we would work to get the actors and the camera ready; as soon as the sun had set we had to shoot quickly, not losing a moment. For these few minutes the light is truly magical, because no one knows where it is coming from. The sun is not to be seen, but the sky can be bright, and the blue of the atmosphere undergoes strange mutations.

Malick’s intuition and daring probably made these scenes the most interesting ones visually in the film. And it takes daring to convince the Hollywood old guard that the shooting day should last only twenty minutes. Even though we took advantage of this short space of time with a kind of frenzy, we often had to finish the scene the next day at the same time, because night would fall inexorably. Each day, like Joshua in the Bible, Malick wanted to stop the sun in its imperturbable course so as to go on shooting.” 

-excerpted from A Man with a Camera, the autobiography of Days of Heaven cinematographer Néstor Almendros

(via norriei)