Some Photo Booth beauties at the Cooperative’s first event of the year ‘Gala in the Graveyard’
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Some Photo Booth beauties at the Cooperative’s first event of the year ‘Gala in the Graveyard’
cool teens bein so cool at the MF

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This is one slice of an incredible high resolution, enhanced color image of Pluto, recently released by NASA. You can see the full, larger version here.
Credit: NASA/JHUAPL/SwRI
Pluto’s close up! -Emily
Public art is important because it tells you about a city’s people… it can tell you a lot about who lives there.
Phil Moore, driver, MUNI F-Line
Have you ever asked your bus driver, #CanWeTalkAboutArt?
Join SFMOMA on Saturday, October 17 for a field trip around the city to meet people—from an arts commissioner to a park ranger, a gallery owner to a Muni driver—who all want to talk to you about art. We’ll bring the map; you’ll bring your questions.
See more →
(via sfmoma)

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Mary Ellen Mark, Photographer Who Documented Difficult Subjects, Dies at 75
Beautiful images by photographer Mary Ellen Mark. -Emily
Fun fact: According to Greek legend there was a famous prostitute who managed to avoid a death sentence by showing the judges her boobs and arguing that it would be a crime against the Gods to destroy something so beautiful.
Before you ask, yes there are paintings of this. And yes, they’re amazing.
Read more.
I love history.
teashoesandhair
Mothers put the “MOM” in SFMOMA! Happy Mother’s Day!
Sargent Johnson, “Mother and Child” (no date)
Toro y Moi - Rose Quartz

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In New York City in the 1940s, painters Willem de Kooning and his wife, Elaine, were the people you wanted at your dinner party. He was inventing abstract expressionism. She, his former student, was part of that movement, but also painting landscapes and people.
Elaine de Kooning felt that making portraits was like falling in love — “painting a portrait is a concentration on one particular person and no one else will do,” she said.
For Artist Elaine De Kooning, Painting Was A Verb, Not A Noun
Photo credits: (top) Joseph Hu/National Portrait Gallery, (left) Alfred Eisenstaedt/The LIFE Picture Collection/Getty Images, (right) Gary Mamay/National Portrait Gallery
At the Wheel
I write this on a Sunday. It is very cold outside, but the snow has stopped falling. I’ve walked 30 minutes through the snow after working 10 AM to 5 PM at a bar. This is the job that pays my bills. That job is not writing plays. Soon the 12th play I have written, the second to be produced, will take possession of the Booth Theatre for technical rehearsals. It was in the Booth ten years ago this summer [that] I saw my first play in New York City. It was the second professional production I had seen. I did not grow up seeing plays. I grew up watching movies and going to church. That’s what there was in Cypress, Texas. I was in high school before I read the script for a play. It was in an English class. I do not remember what play it was, but do I remember being in an auditorium several months later watching a rehearsal for a student production. A boy I knew touched a girl I knew and they said some words, written by someone I did not know. I don’t remember what they said, but I remember that moment. It was like church, but a church in which I could change the liturgy. It was like the movies, but with people I knew. It was very, very big and very, very small at the same time. I was struck. I have been living in the wake of that moment my entire life. There was a man who grew up not far from me. He won an acting award in high school for playing a drug addict in a student production. His father wanted him to be a businessman, but he convinced his father to let him go to Los Angeles to study acting. After he finished his training he moved to New York City. He took a job operating an elevator at night so he could audition during the day. His auditioning did not go well. So he wrote a play. He wrote a play about his hometown. He wrote the play for himself and his friends to perform in. The play was called Wharton Dance. His name was Horton Foote. He wrote plays. Some of them appeared on Broadway. One of them won a Pulitzer Prize. I do not flatter myself. He was a great man. I’m just trying. I didn’t know how hard this life is when I set out to live it. How many no’s there would be. How many different jobs I would need to be able to do, but here I am. A week away from something that seems very much like a dream. All I can think about is Horton. Sitting in an elevator all night with a pencil and a piece of paper. Writing about his hometown. Writing about where he came from. Writing about people he hated and people he loved and people he knew. Writing for his friends. It is nice that while so much has changed, in the theatre and in New York, that a person from nowhere, writing while they work, a very, very lucky person, still has a chance to make something people want to see. As long as they do their best to tell the truth. As long as they write for their friends. As long as they do not give up. As long as when they finish their job, the job that pays the bills, they walk home through the snow and write.
Robert Askins (via elizabethactual)
More work from photographer Simen Johan’s project Until the Kingdom Comes. Find out more about him and the project from the Yossi Milo Gallery, which hosted the exhibit.
These images are stunning! -Emily

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Watch: Key & Peele show how great life would be in a 100% black utopia
They’re starting off season 5 on the exact right note.
Tamir Rice was shot and killed 165 days ago. He has yet to be buried. His mother is living in a homeless shelter.
In November 2014, 12-year-old Tamir Rice was playing with a toy gun in a park on the west side of Cleveland when Officer Timothy Loehmann, mistaking the toy for a real weapon, shot him twice. It’s been 165 days since his death and the boy has yet to be buried, according to a court motion filed Monday by his family. The shooting has “shattered the life of the Rice family,” the motion states. The pain does not subside when protests end and news crews leave.