(Source: fuckyeahthomaspynchon, via uselesschildren)
Peter Schjeldahl on Richard Prince’s show of Instagram-inspired art:
“Possible cogent responses to the show include naughty delight and sincere abhorrence. My own was something like a wish to be dead—which, say what you want about it, is the surest defense against assaults of postmodernist attitude. Come to think of it, death provides an apt metaphor for the pictures: memento mori of perishing vanity.”
Richard Prince. Courtesy Gagosian Gallery. Photographs by Robert McKeever.
(Source: extasyts, via hierarchical-aestheticism)
(Source: odeleonm, via bleecake)
(via Zin Taylor “The Tangental Zigzag” at Kunstraum, London / MOUSSE CONTEMPORARY ART MAGAZINE)
Acne Resort 2015
(Source: adrienneshelly, via yeezus-bae)
The single greatest picture ever taken in my life. We threw Yu-gi-oh cards at the ceiling fan to watch them scatter, and just happened to take a picture right at this exact moment. To this day, this is the only time I’ve ever heard of anyone breaking a ceiling fan blade with cards.
His status as public jester, good-timing party-crasher, and Waldo-like impresario surely tells us things about Web culture, contemporary celebrity, and the ways in which people prefer their famous people to be both generous and too cool to care. Will we ever grow tired of these Murray moments? Is there such a thing as Peak Bill Murray, and then the backlash? — Ian Crouch on Bill Murray, Internet jester: http://nyr.kr/1om3ziZ (via newyorker)
(Source: newyorker.com, via newyorker)
I began to understand that the city intellectuals of the world were divorced from the folkbody blood of the land and were just rootless fools, the permissible fools, who really didn’t know how to go on living. I began to get a new vision of my own of a truer darkness which just overshadowed all this overlaid mental garbage of ‘existentialism’ and ‘hipsterism’ and ‘bourgeois decadence’ and whatever names you want to give it. — Jack Kerouac, Vanity of Duluoz (1968)
(Source: boobs420, via uselesschildren)