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cavetocanvas:

Alexander Rodchenko, 1924

archiemcphee:

To pass the time during long flights, artist Nina Katchadourian goes to the lavatory, adorns herself in tissue paper costume, and creates hilarious self-portrait photos in the style of Flemish Renaissance paintings. She calls the series Seat Assignment: Lavatory Self-Portraits in the Flemish Style:

While in the lavatory on a domestic flight in March 2010, I spontaneously put a tissue paper toilet cover seat cover over my head and took a picture in the mirror. The image evoked 15th-century Flemish portraiture. I decided to add more images made in this mode and planned to take advantage of a long-haul flight from San Francisco to Auckland, guessing that there were likely to be long periods of time when no one was using the lavatory on the 14-hour flight. I made several forays to the bathroom from my aisle seat, and by the time we landed I had a large group of new photographs entitled Lavatory Self-Portraits in the Flemish Style.

[via Laughing Squid]

cavetocanvas:

Andy Goldsworthy wrapping poppy petals around a granite bolder, 1989

cavetocanvas:

Andy Goldsworthy wrapping poppy petals around a granite bolder, 1989

cavetocanvas:

Alfred Stieglitz, Georgia O’Keeffe - Hands, 1917
From the Metropolitan Museum of Art:

Georgia O’Keeffe—Hands is one of the images that Stieglitz made during his first portrait session with O’Keeffe, in 1917, when she traveled by train to New York to see her second show of drawings and watercolors at 291. “A few weeks after I returned to Texas, photographs of me came,” she recalled. “In my excitement at such pictures of myself I took them to school and held them up for my class to see. They were surprised and astonished too. Nothing like that had come into our world before.” The notion that an expressive portrait might be made without including the sitter’s face was indeed novel.

cavetocanvas:

Alfred Stieglitz, Georgia O’Keeffe - Hands, 1917

From the Metropolitan Museum of Art:

Georgia O’Keeffe—Hands is one of the images that Stieglitz made during his first portrait session with O’Keeffe, in 1917, when she traveled by train to New York to see her second show of drawings and watercolors at 291. “A few weeks after I returned to Texas, photographs of me came,” she recalled. “In my excitement at such pictures of myself I took them to school and held them up for my class to see. They were surprised and astonished too. Nothing like that had come into our world before.” The notion that an expressive portrait might be made without including the sitter’s face was indeed novel.