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jshawback:278 feb 12 @jerryshawback

jshawback:278 feb 12 @jerryshawback

skunkbear:

This is corn! (Image courtesy of Greg Schoen/Native Seeds)
Glass Gem Corn, to be precise. We’ve got the story of how these brilliant kernels (and other designer crops) came to be.  Blue tomatoes! Pinberries! Terrestrial wasabi!

skunkbear:

This is corn! (Image courtesy of Greg Schoen/Native Seeds)

Glass Gem Corn, to be precise. We’ve got the story of how these brilliant kernels (and other designer crops) came to be.  Blue tomatoes! Pinberries! Terrestrial wasabi!

foxesinbreeches:

Le Chat années by Germaine Krull, 1930

foxesinbreeches:

Le Chat années by Germaine Krull, 1930

One of the most durable paradoxes of white supremacy - the idea that those who are closest to an experience of oppression are its least credible witnesses.

Walter Johnson, Soul by soul: life inside the antebellum slave market
(via drapetomaniakkk)

This is the type of violence—from microaggressions to epistemic violence to emotional/physical violence to enslavement/genocide—that gets justified by asserting that the oppressor is “objective” and “logical” and thereby “credible.” As if there is objectivity in choosing to oppress. As if the emotions of entitlement, indifference, greed or hatred aren’t involved. 

(via gradientlair)

grupaok:

Łódź Kaliska, Upadek zupełny (Complete Collapse), Krakow — photo Anna Świetlik, May 1981

grupaok:

Łódź Kaliska, Upadek zupełny (Complete Collapse), Krakow — photo Anna Świetlik, May 1981

aminaabramovic:

I hate when men stop me on the street to compliment me like this isn’t a romantic comedy I’m not gonna give you my details this wasn’t serendipity for us to meet

currentsinbiology:

Rhabdonella spiralis (marine ciliate) (40x)
Dr. John R. DolanVillefranche-sur-Mer, France
Technique:Differential Interference Contrast

currentsinbiology:

Rhabdonella spiralis (marine ciliate) (40x)

Dr. John R. DolanVillefranche-sur-Mer, France

Technique:Differential Interference Contrast

cinoh:

w e   a r e   w o r k i n g      s m o c k i n g   h e r e   t o d a y 
t h i s   d r e s s   f r o m   t h e  1 8 0 0 ’ s    i s   i n s p i r a t i o n 

cinoh:

w e   a r e   w o r k i n g      s m o c k i n g   h e r e   t o d a y 

t h i s   d r e s s   f r o m   t h e  1 8 0 0 ’ s    i s   i n s p i r a t i o n 

kreuzen:

Lady Jaye & Genesis P-orridge

kreuzen:

Lady Jaye & Genesis P-orridge

lapitiedangereuse:

Capucine, French model and actress, in her hotel room, Rome August 1951.

lapitiedangereuse:

Capucine, French model and actress, in her hotel room, Rome August 1951.

pariswasawoman:

Dodo, born as Dörte Clara Wolff (10 February 1907– 22 December 1998), was a German painter and illustrator of the New Objectivity.
Dörte Wolff was brought up in a comfortable upper middle-class Jewish environment in Berlin. She initially worked mainly as a fashion illustrator and also designed costumes for Marlene Dietrich and Diseuse Margo Lion in Mischa Spoliansky's Revue Es liegt in der Luft, which premiered in 1928. From early on, she used to sign her works as DODO or DoDo. Dodo reached the peak of her artistic career between 1927 and 1930 with caustic genre scenes of Weimar Republic's glamorous high society. More than 60 of her intensely colourful gouaches, narrating the sophisticated life of the modern urbanite and the increasing estrangement of the sexes, were published in the German satirical magazine ULK.
In 1929, Dodo married the Jewish lawyer and notary Dr. Hans Bürgner (1882–1974); the couple had two children. In 1933 she met Carl Gustav Jung disciple Dr. Gerhard Adler (1904–1988) with whom she fell in love. She followed him to Zürich, where she was analyzed by Toni Wolff (1888–1953), Jung´s close companion, at the Psychiatrische Universitätsklinik Zürich. Dodo expressed her dreams in her works, a sequence of watercolors which she characterized as “unconscious paintings”. As of 1934, Dodo could only work for Jewish publications, such as the Jüdische Rundschau, who frequently published her Bible illustrations, theatre scenes or drawings for children.
in 1936, Dodo emigrated to London, where she married Gerhard Adler after having been divorced from Bürgner. Her divorce from Adler followed in 1938 and Dodo and Hans Bürgner remarried in 1945. In her exile, Dodo illustrated children´s books, designed greeting cards for Raphael Tuck & Sons and worked for Paris House London. Post war, she drew still lives, landscapes and nude studies. In addition, she completed a range of tapestries according to her own design.
Dodo´s work had almost faded into obscurity; its art historic significance was discovered in the autumn of 2009 by Dr. Renate Krümmer, art collector and art dealer. In co-operation with Dodo´s estate and Krümmer, Dr. Adelheid Rasche from the National Museums of Berlin, curated the first monographic exhibition Dodo (1907-1998) - A Life in Pictures.

pariswasawoman:

Dodo, born as Dörte Clara Wolff (10 February 1907– 22 December 1998), was a German painter and illustrator of the New Objectivity.

Dörte Wolff was brought up in a comfortable upper middle-class Jewish environment in Berlin. She initially worked mainly as a fashion illustrator and also designed costumes for Marlene Dietrich and Diseuse Margo Lion in Mischa Spoliansky's Revue Es liegt in der Luft, which premiered in 1928. From early on, she used to sign her works as DODO or DoDo. Dodo reached the peak of her artistic career between 1927 and 1930 with caustic genre scenes of Weimar Republic's glamorous high society. More than 60 of her intensely colourful gouaches, narrating the sophisticated life of the modern urbanite and the increasing estrangement of the sexes, were published in the German satirical magazine ULK.

In 1929, Dodo married the Jewish lawyer and notary Dr. Hans Bürgner (1882–1974); the couple had two children. In 1933 she met Carl Gustav Jung disciple Dr. Gerhard Adler (1904–1988) with whom she fell in love. She followed him to Zürich, where she was analyzed by Toni Wolff (1888–1953), Jung´s close companion, at the Psychiatrische Universitätsklinik Zürich. Dodo expressed her dreams in her works, a sequence of watercolors which she characterized as “unconscious paintings”. As of 1934, Dodo could only work for Jewish publications, such as the Jüdische Rundschau, who frequently published her Bible illustrations, theatre scenes or drawings for children.

in 1936, Dodo emigrated to London, where she married Gerhard Adler after having been divorced from Bürgner. Her divorce from Adler followed in 1938 and Dodo and Hans Bürgner remarried in 1945. In her exile, Dodo illustrated children´s books, designed greeting cards for Raphael Tuck & Sons and worked for Paris House London. Post war, she drew still lives, landscapes and nude studies. In addition, she completed a range of tapestries according to her own design.

Dodo´s work had almost faded into obscurity; its art historic significance was discovered in the autumn of 2009 by Dr. Renate Krümmer, art collector and art dealer. In co-operation with Dodo´s estate and Krümmer, Dr. Adelheid Rasche from the National Museums of Berlin, curated the first monographic exhibition Dodo (1907-1998) - A Life in Pictures.

madamafrique:

Max Ginsburg’s cover painting for “THE FRIENDS” by Rosa Guy

madamafrique:

Max Ginsburg’s cover painting for “THE FRIENDS” by Rosa Guy

cinoh:

Caroline Bwomono

cinoh:

Caroline Bwomono

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