still from kenneth anger’s puce moment*

vivian maier - new york, ny, 1954

fredi washington, 1920s

le ballon rouge, 1956

unknown photographer - untitled (portraits of man and woman), 1900

prince*

stephen shames - angela davis shirt, oakland, 1970

john cassavetes & gena rowlands

gena rowlands & john cassavetes, 1954

little edie beale*

jonnodotcom:

Little Edie in East Hampton, 1930s - from Edith Bouvier Beale: A Life in Pictures (via; see also)

arthur lee & jimi hendrix

Anaïs Nin



As I look upon the experience of an experimentalist, everything that you do is, in a sense, succeeding. It’s telling you what not to do, as well as what to do. Not infrequently, I go into the laboratory, and people would say something didn’t work. And I say, “Great, we’ve made a great discovery!” If you thought it was going to work, and it didn’t work, that tells you as much as if it did. So my attitude is not one of pitfalls; my attitude is one of challenges and “What is nature telling me?”

Now, some people might look at something and let it go by, because they don’t recognize the pattern and the significance. It’s the sensitivity to pattern recognition that seems to me to be of great importance. It’s a matter of being able to find meaning, whether it’s positive or negative, in whatever you encounter. It’s like a journey. It’s like finding the paths that will allow you to go forward, or that path that has a block that tells you to start over again or do something else.

~*jonas salk

(photo: bill eppridge, 1963)

le ballon rouge (the red balloon), 1956