Nadya Likhogrud
3 postcards venting my frustrations about living in a car centric dull suburban city.
Image and text ID under the cut
[Text ID:
Postcard 1: There is something very sinister about the emptiness of suburbia. It is defined by a lack of everything. No trees, no buildings, no people.
Postcard 2: Flat emotionless concrete, stretched out for miles. You do not see the people hidden in their private carriages, protected in palaces so fortified they might as well not exist.
Postcard 3: To fight isolation, they suggest stepping outside. But you find nothing.]
[Image ID: A set of 3 postcards, with an illustration on the front and writing on the back of each.
The first image is of a yellow surrealist landscape with distorted traffic lights throughout, and a winding path that leads to a blue city in the distance. There is a simplified figure facing towards the city.
The second image is a blue city street with liquified distorted buildings, leading towards an orange glow in the distance. The figure is facing towards the horizon.
The third is an orange desert landscape with a large tree in the foreground and the character resting on it.]
Pov: you’re 12 and your camp counselor just revealed he was the bad guy all along while trauma dumping on you.
Vessel in the form of a boar. ca. 3100–2900 BCE. Credit line: Purchase, Rogers Fund and Anonymous Gift, 1979 https://www.metmuseum.org/art/collection/search/326617
A Pulpit Hourglass
Nuremberg, c. 1700, master's mark "rising stag" (stamped twice on top and bottom), embossed brass, 11 turned brass columns, four glass vessels with old wrapping and beige sand, three of which with old inscription, one vessel and one sand filling probably added later, lid with two hinges and brass hooks
Dorotheum
Juanita M. Guccione American, 1904-1999
Ladders, c. 1951
Oil on canvas
36 x 28 in
91.4 x 71.1 cm
Sometimes I get the most unique little guests in my bird bath. (ButteredToastwKelly)