nothing here is meta
nothing here is meta
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etsyifyourenasty:

Avocado Backpack
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Approaching Shadow, 1954
Fan Ho
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saul williams for thomas paquet
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spring1999:

vogue germany january 1999 “lichte visionen” oluchi onweagba photographed by ruven afanador
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motivatedprince:

if this has no significancy to you…i don’t know if we can be cool.
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taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
taf-art:

More portraits of black actors, authors, and musicians from the Yale archival collection "Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964".
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endthymes:

arthur kleinjan, paris looks. 1999-2001

Between 1999 and 2001, the artist spent hours perched in a balcony above the Sacré Coeur church in Paris, watching the people below. As tourists struck poses for souvenir snapshots, he would take a second photograph from behind.
“Sometimes it takes a few seconds for their friends to get the camera ready, and they suddenly don’t know what to do with their bodies. They ask themselves, what leg do I stand on? A bag, or a bottle of water should be out of the image, so they keep it behind their back. They design themselves into what they think is a nice picture … I wanted to show the moment of alteration, as the tourists transform themselves into an image. They seem very self-conscious about the way they look. Vulnerability is revealed. Their discomfort with their own body, as they stand there, is isolated in time and space, waiting to become a future memory.” (x)
endthymes:

arthur kleinjan, paris looks. 1999-2001

Between 1999 and 2001, the artist spent hours perched in a balcony above the Sacré Coeur church in Paris, watching the people below. As tourists struck poses for souvenir snapshots, he would take a second photograph from behind.
“Sometimes it takes a few seconds for their friends to get the camera ready, and they suddenly don’t know what to do with their bodies. They ask themselves, what leg do I stand on? A bag, or a bottle of water should be out of the image, so they keep it behind their back. They design themselves into what they think is a nice picture … I wanted to show the moment of alteration, as the tourists transform themselves into an image. They seem very self-conscious about the way they look. Vulnerability is revealed. Their discomfort with their own body, as they stand there, is isolated in time and space, waiting to become a future memory.” (x)
endthymes:

arthur kleinjan, paris looks. 1999-2001

Between 1999 and 2001, the artist spent hours perched in a balcony above the Sacré Coeur church in Paris, watching the people below. As tourists struck poses for souvenir snapshots, he would take a second photograph from behind.
“Sometimes it takes a few seconds for their friends to get the camera ready, and they suddenly don’t know what to do with their bodies. They ask themselves, what leg do I stand on? A bag, or a bottle of water should be out of the image, so they keep it behind their back. They design themselves into what they think is a nice picture … I wanted to show the moment of alteration, as the tourists transform themselves into an image. They seem very self-conscious about the way they look. Vulnerability is revealed. Their discomfort with their own body, as they stand there, is isolated in time and space, waiting to become a future memory.” (x)
endthymes:

arthur kleinjan, paris looks. 1999-2001

Between 1999 and 2001, the artist spent hours perched in a balcony above the Sacré Coeur church in Paris, watching the people below. As tourists struck poses for souvenir snapshots, he would take a second photograph from behind.
“Sometimes it takes a few seconds for their friends to get the camera ready, and they suddenly don’t know what to do with their bodies. They ask themselves, what leg do I stand on? A bag, or a bottle of water should be out of the image, so they keep it behind their back. They design themselves into what they think is a nice picture … I wanted to show the moment of alteration, as the tourists transform themselves into an image. They seem very self-conscious about the way they look. Vulnerability is revealed. Their discomfort with their own body, as they stand there, is isolated in time and space, waiting to become a future memory.” (x)
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glamorous-angels:

Naomi Campbell, Pirelli Calendar 1995 by Richard Avedon.