Latest on twitter:
which explains the anger and resentment
i love her bc she is my mom.
Rosie hungry. Need Koosh balls.
Early color photographs by Saul Leiter:
Saul Leiter started shooting color and black-and-white street photography in New York in the 1940s. He had no formal training in photography, but the genius of his early work was quickly acknowledged by Edward Steichen, who included Leiter in two important MoMA shows in the 1950s. MoMA’s 1957 conference “Experimental Photography in Color” featured 20 color photographs by Leiter.
After that, however, Leiter’s personal color photography was, for the most part, not shared with the public. He became better-known as a successful fashion photographer in the 1950s and 60s. All the while, Leiter continued to stroll the streets wherever he was (mostly New York and Paris), making photographs for his own pleasure. He printed some of his black-and-white street photos, but kept most of his color slides tucked away in boxes. It was only in the 1990s that he began to look back at that remarkable color work and start to make prints.
[Flash 9 is required to listen to audio.]
Somebody To Love
Leighton Meester feat. Robin Thicke
This had me in a continuous robot dance the entire time I was at home.
Yes neighborino, I was doing this in my underwear on Saturday morning. It’s OK though, because I definitely saw you outside in your nightie accosting/scoping out the Verizon man :)
……WHY??!?!?! mopostal, I’m looking at you.
Maryland will always have my heart.
1) Too much Old Bay
2) Toxic crabs
3) Toxic Old Bay Crabs
"In 2003, DWR republished How to See, a book by legendary Herman Miller design director George Nelson, who, in addition to creating some seminal pieces of 20th-century American furniture, brought the Eameses and Isamu Noguchi to prominence. Design’s “basic rules,” Nelson writes, “are not complicated: A designed object has to do what it was made for.”
This is as true for a company as it is for a chair. DWR was designed to make money largely by educating America about modernism — its visual appeal, its unique stories, its integrity — and making prime examples of that design available quickly. These were its core competitive advantages. Under Brunner, many thought that the company had changed so much — moved so far away from its original principles — that it no longer did what it was made for."
"We have this cycle we’ve developed—work intensively, buy more, repeat,” says Carolyn Danckaert, New American Dream’s director of home and communities programs. “At a certain point, the accumulation of stuff starts to drive your life."
Brooklyn Beware: I’m now packing this, and I’m not afraid to use it.
