The Pastrycook, 1928. August Sander. Gelatin silver
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The Pastrycook, 1928. August Sander. Gelatin silver

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A Rose, 1907. Thomas P. Anshutz. Oil on canvas.
“Kafka's burrow is terrible in two ways. The first is that we can never hope to win a war against an imagined enemy. We cannot hold what we do not know, and we cannot overcome that which exists only in a nightmare. And the second, as the Stoic Seneca put it, we often suffer more in the imagination than in reality.
We catastrophise and we exaggerate. Our nightmares take on an entire weight of their own.”
Blind Children, 1930. August Sander. Gelatin silver print.
Sander captured this photograph in 1930, during the twilight of the Weimar Republic. Just three years later, the Nazi regime came to power, completely upending the framework of institutional care.
Cabana, 1979. Andy Sweet. Chromogenic print.

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The Harvest, 1866. Leon Augustin Lhermitte. Oil on canvas.
We are an impossibility in an impossible universe.
— Ray Bradbury
Dragon Group Seal, 18th century. Japanese boxwood (tsuge) netsuke designed specifically with a functional seal (hanko) base.
Jeunes filles célibataires déposent une gerbe pour la Sainte-Catherine, Paris, 1957 Moderne. Janine Niépce. Gelatin silver print.
by Bruno Barbey Café São Jorge, 1966

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Imad Fares~ Spanish guitar cover of "Súbeme la Radio" (originally by Enrique Iglesias). Main Market Square (Rynek Główny) in Kraków, Poland.
Paris, 1951. Robert Frank. Silver gelatin.
Marilyn Monroe, Blue Studio, Wicker Chair, 1955. Milton H. Greene. Pigment print
I didn’t break- Kara Holt.
Calgary's New Central Library and Library Plaza, Canada / Snøhetta + DIALOG designers.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Nocturne in Black and Gold: The Falling Rocket, c. 1875. James Abbott McNeill Whistler. Oil on panel.
New York City, 1978. Joel Meyerowitz. Pigment print