Siena Rain, c. 1960. Bernhard Wübbel. Chromogenic print

Origami Around
Show & Tell
he wasn't even looking at me and he found me
i don't do bad sauce passes
Monterey Bay Aquarium

ellievsbear
we're not kids anymore.
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Mike Driver
hello vonnie
AnasAbdin
Xuebing Du

Kaledo Art
Lint Roller? I Barely Know Her
occasionally subtle
Claire Keane

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pixel skylines

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Siena Rain, c. 1960. Bernhard Wübbel. Chromogenic print

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by Kusukazu Uraguchi / 浦口楠一 From the book: Ama Diver Women of Japan / 志摩の海女, 1981
Road to cruise - New zealand
Neeltje de Vries
Lemonade
“Sun-whipped seas, spices and fragrant trees,”
— Amy Lowell, from Poems; “Twenty-Four Hokku on a Modern Theme,”

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Nu à la mer
Les nuits de la pleine lune (Éric Rohmer, 1984)
Night shifts - Vogue UK (1989)
Carre Otis by Hans Fuerer
The power of profound meaning is found in blue, and first in its physical movements (1) of retreat from the spectator, (2) of turning in upon its own centre. The inclination of blue to depth is so strong that its inner appeal is stronger when its shade is deeper. Blue is the typical heavenly colour. The ultimate feeling it creates is one of rest. When it sinks almost to black, it echoes a grief that is hardly human. When it rises towards white, a movement little suited to it, its appeal to men grows weaker and more distant. In music a light blue is like a flute, a darker blue a cello; a still darker a thunderous double bass; and the darkest blue of all—an organ.
Wassily Kandinsky, Concerning the Spiritual in Art (translated by M.T.H. Sadler)

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Sequestro di persona (1968)
Auguste Rodin (1840 - 1917) - Naiad
Jeanette Winterson, Art Objects: Essays on Ecstacy and Effrontery
it has in it warnings and chances and painful beauty

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the collective issue : jacey philana for dew magazine no. 57