//aquatictigerparty*
//aquatictigerparty*
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Línea de 250 centímetros tatuada sobre seis personas remuneradas (250 cm line drawn on 6 people paid 30 dollars each), 1999 by Santiago Sierra

Línea de 250 centímetros tatuada sobre seis personas remuneradas (250 cm line drawn on 6 people paid 30 dollars each), 1999 by Santiago Sierra

Línea de 250 centímetros tatuada sobre seis personas remuneradas (250 cm line drawn on 6 people paid 30 dollars each), 1999 by Santiago Sierra

Línea de 250 centímetros tatuada sobre seis personas remuneradas (250 cm line drawn on 6 people paid 30 dollars each), 1999 by Santiago Sierra
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matteich:

Lines in skin, Ocracoke Island, North Carolina, June 26, 2014. 
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5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
5centsapound:

Émilie Régnier: Mali Passport
via foam: ‘I am really driven by the idea of showing a West African society that is growing,’ says Régnier. That means ignoring the easy and the rote: pictures of elites quaffing champagne, or images cataloguing the atrocities of war. Witnessing with a camera takes many forms. For Régnier, photographic truth is located in the bodily presence of young West Africans proudly negotiating their future, a diverse future of many possibilities.’
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sfmoma:

SubmissionFriday:
Kenny by Andrea Nakhla from the series “I Saw it in You”

Hey!  This guy looks familiar
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mossfull:

Nakeya Janice Brown, Sealing Ends- Part II, 2014
Bonnie Sherk | How to build a universe that doesn’t fall apart two days later | 2006-2007
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Had a blast photographing @sunabeats today for his upcoming EP with @colorstation_
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Soo dreamy…