of the 33rd degree

A windswept drive-in theater, where desert stretches out past the cinema screen as we sit transfixed- lit only by xenon and starlight.

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rudygodinez:

Shim Moon-Seup, Untitled Work from the Series “Relation”, (1988)

rudygodinez:

Richard Serra at Work on Measurements of Time/Seeing is Believing, (1996)

 To make his splashed lead pieces, which he began in 1968, Serra threw molten lead from a ladle, often raised above his head, splattering the liquefied metal against the ninety degree angle where the floor met the wall. The lead accumulated incrementally in the crevice, which acted as a mold. Often doing this for days to build up the material, Serra would eventually push the hard metal cast away from the wall and repeat the action. The signs of process that are obvious in the completed work operate in the same way as a drawn line or trace of an artist’s hand, telling us something about how the piece was made

rudygodinez:

Peter Puklus, Untitled Photograph from “Handbook to the Stars”, (2011)

leslieseuffert:

James Nizam Trace Heavens”

grupaok:

Stuart Brisley, Beneath Dignity, Bregenz, 1977/81
fuckyeahbrutalism:

Duke Nuclear Laboratory, Duke University, Durham, North Carolina, 1970s
(A.G. Odell, Jr & Associates)

de-salva:

Henry Moore - Three Piece Reclining Figure No.1 (1961-62)

Bronze, 1700 x 2800 x 1370 mm 

* Tate Collection

germanpostwarmodern:

House M. (1959) in Dortmund, Germany, by Albrecht Brandi
rudygodinez:

Unknown Photographer, Skeleton Collection of the Agricultural and Forestry School at the Zurich Polytechnikum, (1905)
oldhollywood:

Sylvia Sidney & Henry Fonda in You Only Live Once (1937, dir. Fritz Lang) (via)
de-salva:

Henry Moore - Reclining Figure (plaster, 1958.)
furtho:

Jean Renaudie’s Givors, France

likeafieldmouse:

Man Ray - Space Writing (1935)

aintknow:

Model for the Town Hall of Terneuzen, The Netherlands
Jaap Bakema — 1962
fadless:

william s. burroughs by gottfried helnwein