fotojournalismus:

Approaching Shadow, 1954. Photo by Fan Ho.
Fan Ho is one of Asia’s most beloved street photographers, capturing the spirit of Hong Kong in the 1950s and 60s.
(via guardian)
It’s just that why is she wearing a welding mask?
I crave space. It charges my batteries. It helps me breathe. Being around people can be so exhausting, because most of them love to take and barely know how to give. Except for a rare few. Katie Kacvinsky, First Comes Love (via thatkindofwoman)

(Source: psych-facts, via dayescape)

66,039 notes
When you’re unemployed you get to eat French toast for lunch.
exploringthenetherlands:

Amsterdam, The Netherlands (by Vincent Gosselin)
climateadaptation:

Gigantic cabbages at the Alaskan State Fair.

I used to want to live in Alaska. Now I really want to.
humansofnewyork:

"We don’t like pictures like this. It is not good to deduce an entire country to the image of a person reaching out for food. It is not good for people to see us like this, and it is not good for us to see ourselves like this. This gives us no dignity. We don’t want to be shown as a country of people waiting for someone to bring us food. Congo has an incredible amount of farmland. An incredible amount of resources. Yes, we have a lot of problems. But food is not what we are reaching for. We need investment. We need the means to develop ourselves." 
(Kinshasa, Democratic Republic of Congo)
lostateminor:

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This artist has created a life-sized self-portrait using his own blood! (NSFW)

For the occasion of his first solo show at Joseph Gross Gallery, The Map Is Not The Territory, opening September 11, 2014, Brooklyn artist Ted Lawson will début a new series of work consisting of three dimensional wall mounted pieces and freestanding sculptures milled from MDF (a wood fiber based material commonly used in commercial fabrication), brass plate etchings, and three large scale drawings rendered in the artist’s own blood fed intravenously to a CNC (computer numerical control) machine using computer technology akin to a 3D printer.
These man and machine ‘collaborations’ are most poignant in Lawson’s blood drawings. Documented in a short video capturing the artist literally spilling blood for his work, fed to the machine through an IV over hours at a time, the act ultimately challenges the preconception that an artist whose practice utilizes computers and coding is somehow more removed from his work than an artist using graphite or paint.