rhizomatous:

Coyote riding public rail in Portland, OR (via)

rhizomatous:

Coyote riding public rail in Portland, OR (via)

Reblogged from raymondboisjoly with 69,116 notes

maybeedmonton:

Rejected Alberta License Plate Ideas

Reblogged from maybeedmonton with 110 notes

jean-luc-gohard:

I was born in the wrong generation. This generation is still racist as fuck and I can’t download a pizza. Wake me up in the year 3019.

Reblogged from raymondboisjoly with 50,161 notes

(Source: risingtensions)

Reblogged from marriedtotheinternet with 11,595 notes

sickpage:

Vincent Glielmi

sickpage:

Vincent Glielmi

Reblogged from pennyarcadevintage with 773 notes

"

Don’t you know that slavery was outlawed?”

“No,” the guard said, “you’re wrong. Slavery was outlawed with the exception of prisons. Slavery is legal in prisons.”

I looked it up and sure enough, she was right. The Thirteenth Amendment to the Constitution says:
“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.”

Well, that explained a lot of things. That explained why jails and prisons all over the country are filled to the brim with Black and Third World people, why so many Black people can’t find a job on the streets and are forced to survive the best way they know how. Once you’re in prison, there are plenty of jobs, and, if you don’t want to work, they beat you up and throw you in a hole. If every state had to pay workers to do the jobs prisoners are forced to do, the salaries would amount to billions… Prisons are a profitable business. They are a way of legally perpetuating slavery. In every state more and more prisons are being built and even more are on the drawing board. Who are they for? They certainly aren’t planning to put white people in them. Prisons are part of this government’s genocidal war against Black and Third World people.

"

Assata Shakur’s autobiography. (via sukoot)

(Source: the-uncensored-she)

Reblogged from raymondboisjoly with 8,148 notes

exponential growth
Salbung #1

Böhler & Orendt, 2013, 220 × 290 × 330 cm, 3 h, Prince of Wales, München

exponential growth

Salbung #1

Böhler & Orendt, 2013, 220 × 290 × 330 cm, 3 h, Prince of Wales, München

missvoltairine:

phil-irish-artist:

By copyrighting his property as an artwork, he has prevented oil companies from drilling on it.

Peter Von Tiesenhausen has developed artworks all over his property in northern Alberta.  There’s a boat woven from sticks that is gradually being reclaimed by the land; there is a fence that he adds to each year of his life, and there are many “watching” trees, with eyes scored into their bark.

Oil interests pester him continually about drilling on his land.  His repeated rebuffing of their advances lead them to move toward arbitration.  They made it very clear that he only owned the top 6 inches of soil, and they had rights to anything underneath.  He then, off the top of his head, threatened them that he would sue damages if they disturbed his 6 inches, for the entire property is an artwork.  Any disturbance would compromise the work, and he would sue.

Immediately after that meeting, he called a lawyer (who is also an art collector) and asked if his intuitive threat would actually hold legally.  The lawyer visited, saw the scope of the work on the property, and wrote a document protecting the artwork.

The oil companies have kept their distance ever since.

This is but one example of Peter’s ability to negotiate quickly on his feet, and to find solutions that defy expectations.

I feel like this is really important. 

Reblogged from raymondboisjoly with 48,250 notes

(Source: cityvillain)

Reblogged from gatenight with 6,824 notes

Silvia KolbowskiOnce more, with feeling
1992

Once more, with feeling is a two-part project (at galleries in New York and Paris) that engaged the generic white gallery space. A challenge to the “tabula rasa” idea of the empty gallery space, and to the cultural demand that the artist fill it in conventional ways, the project is comprised of objects of mass and limited production. Included are a large-run of an offset poster of each empty gallery space, with quotations taken from local, time-sensitive publications, and a limited edition gold silkscreen of the same image of the empty gallery space displayed behind a metal railing. The full run of posters and their packing tubes were displayed next to the print and railing. Conceptually speaking, if the posters are all sold during the exhibition, the gallery becomes half empty, with only the gold print and railing remaining.

Silvia Kolbowski

Once more, with feeling

1992

Once more, with feeling is a two-part project (at galleries in New York and Paris) that engaged the generic white gallery space. A challenge to the “tabula rasa” idea of the empty gallery space, and to the cultural demand that the artist fill it in conventional ways, the project is comprised of objects of mass and limited production. Included are a large-run of an offset poster of each empty gallery space, with quotations taken from local, time-sensitive publications, and a limited edition gold silkscreen of the same image of the empty gallery space displayed behind a metal railing. The full run of posters and their packing tubes were displayed next to the print and railing. Conceptually speaking, if the posters are all sold during the exhibition, the gallery becomes half empty, with only the gold print and railing remaining.

Environmentalists barred again from oilsands hearings

(Source: resistkxl)

Reblogged from maybeedmonton with 14 notes

nitanahkohe:

"HuffPost has covered the issue of outrageous food prices in Canada’s north before, including the protests by locals calling on the government for help. The people of the Canadian Arctic suffer the highest rate of food insecurity in the world for an Aboriginal people living in a developed country.” —$83.49 for a Case of Water? Welcome to Nunavut”

Reblogged from maybeedmonton with 452 notes