Brass in Pocket: Go To The Getty

It only took me two years and a four minute tram ride.

blue hues vast views

sandwiches

Cupid and Pan~inspired by the quote "love conquers all" Pan personifies carnal lust, his struggle with Cupid represents a fight between divine and earthly love.

Heraldic Panel with the Arms of the Eberler Family~By the late 1400s glass became more affordable and more common as glass windows in homes.

Paris Being Admitted to Helen's Bedchamber~ erotic and robust!

This is from Larry Towell's experience capturing the life of the Mennonite community in search of work in Mexico....and then I could no longer use my dang camera......

Although it was the last of my privileges to take pictures, it began my emotional experience in the exhibit "Engaged Observers: Documentary Photography Since the Sixties." {Photo essays of social concern and particular personal visions of the world}

I was moved by the images of the starving forlorn families of the Dust Bowl, Phillip Jones Griffiths photos of the victims of the Vietnam War, Leonard Freed's collection about being Black in a White America in the 60s, Mary Ellen Mark's depiction of streetkids in Seattle in the 80s, common humanity in fucked up and unjust circumstances...Lauren Greenfield's section portrayed teenage girls growing up in the 90s worried about their weight and the size of their noses...from anorexic girls in the hospital, averting their eyes from the scale they were forced to stand on to young girls at Fat Camps vying for thinness, for beauty, love, attention...because if a woman is not "taught to use her voice, she will learn how to use her body instead" to obtain these social "necessities."

I was moved to tears while looking at James Nachtwey's "The Sacrifice."
Gotta quote it here yall :

"In 2006 he traveled with emergency medical units in Iraq for a photo essay, The Sacrifice, that depicts helicopter transfers from battle sites to treatment centers, emergency rooms where lives hang in the balance, and the difficult process of recovery. Nachtwey created a monumental installation print of 60 individual trauma-center images, tightly framed and digitally collaged into a grid. The object's sheer size—in which one picture gives way to the next in a seemingly endless stream of torn flesh, metal instruments, snaking tubes, and bloodied hands—conveys a sense of the controlled chaos that permeates these medical centers as well as the overwhelming volume of casualties flowing through the medics' hands on a daily basis. Nachtwey's intentionally unsettling work demands that we reconcile the goals and achievements of armed conflict with its human costs, that we be prepared to acknowledge in particular visual terms the sacrifice it entails and the valiant work of those who do their best to mend its path of destruction."