Christopher Russell - Untitled (Interiors) (2006-10)


Shang Ma (Chinese, b. China, based San Francisco, CA, USA) - Existence No.8      Paintings: Oil on Canvas

M. C. Escher, Concentric Rinds (1953)

Conrad, 1982.



Anton Giulio Bragaglia, film stills from Thaïs, silent B&W film, 1917, Italian Futurist. 

The Italian Futurists’ love of energy, movement, speed, technology, and industry extended beyond subject matter to include their working methods and materials.  Anton Giulio Bragaglia considered moving film to be an ideal medium to capture his love affair with the dynamic, and indeed directed the only well-preserved remaining Italian Futurist film today, Thaïs (Re 125).
Bragaglia worked with fellow futurist artist Enirco Prampolini collaborating as art director to bring his screenplay roaring to life.  The two artists employed light and shadow, together with set pieces painted in optical effects and geometric and theosophical symbols, to create a rhythmic feel rather than a static backdrop, giving even the slower scenes of this silent film movement (Re 128). 
While Bragaglia’s decision to adapt a literary work featuring a stock diva-femme fatale character to screenplay has been seen as anti-futurist, the conscious decision and development of the films title character, Thaïs, is seen as intentionally polemical by critics, given Bragaglia’s position as a second-generation futurist and the movement’s core commitment to undermining things which are simply because they have been so (Re 129). 
VIDEO: closing scene of Thaïs on Youtube. 
Re, Lucia.  ”Futurism, Film, and the Return of the Repressed: Learning from Thaïs.” MLN 123.1 (2008): 123-150.  Web. 23 April 2013. 

(via interstellaroverdrive)


Robert McGinnis

Shirley Mallmann in ‘Ajustes Gráficos’ by Zee Nunes for Harper’s Bazaar Brazil, 2011.


(via timbllr)


salvatore ferragamo fw 2012

Creature From the Black Lagoon (1954)