I’m Anna. I studied Sociology & Anthropology in school. I did a stint in the Peace Corps, and now I spend too much time online. Bienvenidos a mi blog. Sometimes I post my thoughts in words, but mostly I post pics from flickr--graff, street art, architecture, cupcakes, decay, New York City, abandoned buildings, beautiful landscape, cute animals, and anything else that catches my eye. I always try to link pictures to their original source, but if I posted a pic that belongs to you, and you don't want it here, please tell me, and I will remove it ASAP. :)
I wish men could understand we’re not here auditioning to be your girl.
dream hampton  (via tirhase)

(via killyovibe)

cover pic by fofurasfelinas on Flickr.
. by priscilabonatto. on Flickr.

. by priscilabonatto. on Flickr.

(by brokenview)
Day 121.365 - The Bride (by anshu_si)

Day 121.365 - The Bride (by anshu_si)

lost in thought (by ewitsoe)

lost in thought (by ewitsoe)

untitled by mistergalaxy on Flickr.

untitled by mistergalaxy on Flickr.

bitforms:

And here’s another!

Nude, No. 1 (My Albers), 2010. Yael Kanarek.

wood, the word “white” in silicone in nine languages: Amharic, Arabic, English, German, Hebrew, Japanese, Chinese, Latin, Russian

31.5 x 31.5” / 80 x 80 cm

The universalism of Josef Albers’ “Homage to the Square” is examined in Nude, No. 1. It also identifies the body as a space of negotiation located between cultures. Melanin and speech are both physical attributes of the body. Each piece in the series is a linguistic composition loaded with social tension. The underpainting of these works is a pigmented glue that represents a tone that is different from that on the surface. Bleeding into the top layers, this root level of the picture’s composition symbolically acknowledges difference. Playing with the relationship of simultaneous perceptions, these pieces activate a dense system of human struggle that is orchestrated by language, regardless of one’s skin tone. As an Israeli-American, Kanarek’s perception of space is tempered with an awareness how arbitrary borders are. Employing modes of authorship such as storytelling and multilinguialism, Kanarek manipulates the biographical predisposition of a viewer’s associations (which are dynamic). Her work enters spaces of meaning determined by a global network and the negotiation of identity that occurs when confronted by multiple systems.

The Styles at New Orleans Jazz Fest 2013

(Source: wheredidugetthat.com)

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