This is a queer and trans-friendly space. Nudes or sexually explicit pictures may occasionally be posted, but will be tagged as #nsfw and #nude.
I'm a scatter-brained, brain-damaged, neuro-atypical feminist Aquarius with fibromyalgia.
...or, as was once made clear to me by a toddler, I'm less interesting than a laundry basket.
[Image: A photo of rocks, gloriously stacked.]
Here is a good series of pictures to draw. Spend about 15 minutes on each drawing. Start with non-photo blue and then pick any pony you like to take you the rest of the way.
Professor Lynda B.
Orchard Beach: The Bronx Riviera
Although New York’s Bronx is considered one of the most diverse communities in America out of which many subcultures originated, such as Hip Hop and Salsa, it’s still viewed as a no man’s land by many of the city’s inhabitants. Perhaps it is a matter of simple geography that many refuse to venture to the northernmost of the city’s five boroughs or, quite possibly, it may be the Borough’s malevolent reputation lingering from its tumultuous past.
From its earliest years, the Bronx has been a hotbed of immigrant working class families, but its image has largely been defined by the urban blight of the late 1960’s through to the 1980’s when arson, drug addiction and social neglect decimated many of its neighborhoods. For the families who have called this scarred landscape home, Orchard Beach, the only beach in the borough, was and remains a treasured respite from the sweltering confines of the concrete jungle. Built in the 1930s by urban planner Robert Moses, the beach carries the stigma as being one of the worst in New York and is commonly known as Horseshit Beach or Chocha Beach.
I began shooting portraits of Orchard Beach’s summertime regulars in 2005 shortly after moving to New York, realizing that the stigma attached to this oasis was largely unjustified - I felt compelled to engage with this community of working class families and colorful characters. The photographs in ‘Orchard Beach – The Bronx Riviera’ celebrate the pride and dignity of the beach’s visitors, working-class people.
Immediately catching the viewer’s eye is the extravagant style of many of the photographs’ subjects – a quest for identity and sense of belonging. Some individuals carry scars and markings that hint to their own personal histories, which often reflect the complex history of the borough itself. Within the gaze of those portrayed we see a community standing in defiance of popular opinion.
The six years I spent photographing Orchard Beach have not only given me the time and space to reflect on the importance of family and community, but also a sense of belonging and purpose. After having experienced the most profound grief when my older brother was brutally murdered, photography has not only offered me an opportunity to give a voice to a community often misunderstood but also a means of healing from the loss experienced.
— Wayne Lawrence / INSTITUTE
A slender old moon seems to be touching the top of this beautiful Italian church in this skywatcher image. Taken by Stefano De Rosa in Turin, Italy on Dec. 4, 2011.
My Name is Blessing - for Orange Babies
In his series, The Good Badlands, photographer Guy Tal seeks to show us that though it is often hidden, and may only appear briefly, there is delicate and subtle beauty in abundance for any viewer with patience and desire.
Barron Claiborne started taking pictures at age ten after receiving a camera from his mother, at which point he decided, “God, maybe I’ll just do photography, then I won’t have to do anything else.” Claiborne went on to develop a true penchant for the craft, and created a unique style, working primarily in large format and experimenting with 8x10 Polaroid film in order to lend a bronzed, overly textured quality to his photographs.
Claiborne’s photographic influences are often derived from his Southern and African ancestry, and he uses his work as a canvas for representing the tales and oral traditions at the roots of his heritage. For the past 3 years, Claiborne has focused on the bodies of women, saints, and goddesses. His work has appeared in a number of publications including Newsweek, New York Times Magazine,Rolling Stone, and Interview.
twenty four year old natasha lives with her two children on a small plot of land in rural burkina faso, which she uses to cultivate millet. a staple of their diet, the millet is not nutritionally dense, which leads to malnutrition, and often runs out before the next harvest. this forces natasha, with her youngest in tow, to scavenge for firewood and walk it to the nearest town a dozen miles away, where she then sells it and buys a little extra food and medicine.
although women in burkina faso provide more than half of the nation’s agricultural labour, they own less than a fifth of the land. women are viewed less as “owners of land” and more as “owners of crops”, and customary rural laws, which tend to trump any written legal protection, mean their land can be arbitrarily taken away. marriage offers some protection, but natasha has not heard from her husband since he left to find work in senegal over a year ago, and a dissolution of the marriage would mean certain land forfeiture.
despite women in the country being more productive with their land than men, they are further marginalized by banking restrictions; since women are not considered landowners, they are unable to provide the collateral needed to secure a loan, and are consequently forced to accept extremely high interest rates which further trap them in poverty.
these photos are from jessica dimmock’s “a mother’s devotion,” done in collaboration with médecins sans frontières for the documentary project, starved for attention, which attempts to reframe the issue of global malnutrition away from the cliched images of helpless victim.
Poppy Field, Umbria, Italy
photo by maurizio
Reflection, Glen Affric, Scotland
photo via maricela
Played my first gig on the weekend transport home was ummm ‘messy’ ahahahha
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