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This famous stunt in the movie was actually built around what went wrong with the original stunt. Keaton intended to leap from one building onto the roof of another building, but he fell short, smashing into the brick wall and falling into a net off-screen. He was injured badly enough to be laid up for three days. But when he saw the film (his camera operators were instructed to always keep filming, no matter what happened), he not only kept the mishap, he built on it, adding the fall through three awnings, the loose downspout that propels him into the firehouse, and the slide down the fire pole. (The Three Ages - 1923)

This famous stunt in the movie was actually built around what went wrong with the original stunt. Keaton intended to leap from one building onto the roof of another building, but he fell short, smashing into the brick wall and falling into a net off-screen. He was injured badly enough to be laid up for three days. But when he saw the film (his camera operators were instructed to always keep filming, no matter what happened), he not only kept the mishap, he built on it, adding the fall through three awnings, the loose downspout that propels him into the firehouse, and the slide down the fire pole. (The Three Ages - 1923)

(Source: maudit)

May 05, 2012

9,205 notes

Photo

lcillustration:

Sirens

April 13, 2012

2,405 notes

Photo

darksilenceinsuburbia:

Sammy Slabbinck . Advance, focus & shoot.

April 11, 2012

542 notes

Photoset

(x)

(Source: perfectdisney, via vintagegal)

April 05, 2012

34,657 notes

Photoset

Happy birthday, Vincent Van Gogh!

(via taxiarchos)

March 31, 2012

370 notes

Photoset

darksilenceinsuburbia:

Kathy Ruttenberg.

The Moment After.

The Moment After (detail).

Working with only “earth, fire and emotions,” Kathy Ruttenberg’s fairytale-like ceramic sculptures create a world that is immediately captivating, but the viewer might be surprised by what’s down the rabbit hole. Her violent and devastating visions are disturbingly peaceful, idyllic and sustainable. Erasing the boundary of the metaphorical and the literal, Ruttenberg’s world is filled with lush foliage, woodland creatures and puzzling, slightly grim yet open-ended reveries of gender relations. Men are always portrayed as animals in gentlemen’s clothing, and women are always well-groomed and dressed in rounded skirts. On one hand, men are literally animal-like savages, but at the same time they are native creatures of the woodlands and the earth itself, whereas the female figures are the outsiders, if not intruders. It is hard to tell if they are men masquerading as animals, or vice versa. Death, in works such as “The Moment After”, is the stark aftermath of failed love, but also an opportunity to blossom imaginatively and become one with earth.

See Kathy’s work in person in NYC at STUX gallery on view now until May 5th.

(by Amir)