wykwintna małża 2007-12-05 22:22:25
wilczku szary, artyści piją piwo w cyrku, a publika czeka na linoskoczkę i jej upadek śmiertelny.
— 6.12.2007, 10:58:00
...
wykwintna małża 2007-12-05 22:22:25
wilczku szary, artyści piją piwo w cyrku, a publika czeka na linoskoczkę i jej upadek śmiertelny.
— 6.12.2007, 10:58:00
majspejs
— 28.11.2007, 03:03:06
...
majspejs
— 28.11.2007, 03:03:06
...
the depth of an idea is inversely proportional to the mass perception
— 23.11.2007, 08:06:30
the depth of an idea is inversely proportional to the mass perception
— 23.11.2007, 08:06:30
...
!
— 21.11.2007, 05:54:17
...
?
— 17.11.2007, 07:49:06
\"Jeśli jest to forma bez treści, to nie ma waloru obiektywności, no więc jest to formalizm\"
— 29.10.2007, 07:35:52
...
"Jeśli jest to forma bez treści, to nie ma waloru obiektywności, no więc jest to formalizm"
— 29.10.2007, 07:35:52
- Chciałbym życzyć wszystkim mieszkańcom wsi, a w szczególności polskim rolnikom otuchy i optymizmu. Wiary w to, że wspólnie razem przebudujemy Polskę i będziemy z niej dumni, a jednocześnie każdemu indywidualnie życząc zdrowia, pomyślności, miłości w rodzinie, solidarności ludzkiej, wzajemnego wspierania się w trudnych czasach jakich żyjemy. Wszystkim życzę Szczęść Boże
— 24.10.2007, 02:56:37
...
- Chciałbym życzyć wszystkim mieszkańcom wsi, a w szczególności polskim rolnikom otuchy i optymizmu. Wiary w to, że wspólnie razem przebudujemy Polskę i będziemy z niej dumni, a jednocześnie każdemu indywidualnie życząc zdrowia, pomyślności, miłości w rodzinie, solidarności ludzkiej, wzajemnego wspierania się w trudnych czasach jakich żyjemy. Wszystkim życzę Szczęść Boże
— 24.10.2007, 02:56:37
...
Forbidden
You don't have permission to access /dno.html on this server.
— 27.09.2007, 02:38:30
Forbidden
You don\'t have permission to access /dno.html on this server.
— 27.09.2007, 02:38:30
Statystyki (licznik odwiedzin: 777)
— 24.09.2007, 05:02:52
...
Statystyki (licznik odwiedzin: 777)
— 24.09.2007, 05:02:52
...
The Influence of Personal Photography
Photographs inspired by personal or amateur photography, such as the snapshot and the family album
picture, came to influence fashion photography in the 1990s as much as the cult of cinema. Tina Barney, Nan
Goldin, Simon Leigh, Steven Meisel, Mario Sorrenti, Larry Sultan, and Juergen Teller drew on the narrative of
everyday life rather than the world of fashion ideals to tell stories that lend familiarity and authenticity to the
magazine page. For the premiere issue of the Village Voice’s fashion insert, View, in 1985, Nan Goldin
(American, b. 1953) photographed four friends in undergarments in the Russian baths of New York’s Lower East
Side. The photographs in the editorial, titled “Masculine/Feminine,” resemble casual snapshots, which have more
in common with personal mementos than stylized fashion images.
For “The Clients,” an editorial made in 1999 for W magazine, Juergen Teller (German, b. 1964)
photographed some of haute couture’s most loyal patrons, such as Vicomtesse Jacqueline de Ribes and Princess
Marie-Chantal of Greece, at the fashion designers’ Paris ateliers. The photographs are straightforward,
uncontrived, and devoid of the elaborate styling and deliberate preparations typical of studio photographs. The
subjects are not models posing for a fashion photograph but women who seem to have been caught in a random
moment.
The conventions of the family photo album play a strong role in fashion images made during the 1990s.
Larry Sultan (American, b. 1946) created narratives reminiscent of images in family albums for the Kate Spade
Fall/Winter 2002 advertising campaign. A series of calculated snapshots describe this fictitious family’s visit to
New York to visit their twenty-something daughter named “Tennessee.” “The Lawrence’s” are a culturally
sophisticated and stylish family photographed hyperrealistically in oversaturated color in a succession of clichéd
moments. Sultan’s images affirm and recognize their own commerciality and, like many fashion photographs, point
to the constructed nature and essential falsity of all fashion photography.
— 8.09.2007, 18:56:50
The Influence of Personal Photography
Photographs inspired by personal or amateur photography, such as the snapshot and the family album
picture, came to influence fashion photography in the 1990s as much as the cult of cinema. Tina Barney, Nan
Goldin, Simon Leigh, Steven Meisel, Mario Sorrenti, Larry Sultan, and Juergen Teller drew on the narrative of
everyday life rather than the world of fashion ideals to tell stories that lend familiarity and authenticity to the
magazine page. For the premiere issue of the Village Voice’s fashion insert, View, in 1985, Nan Goldin
(American, b. 1953) photographed four friends in undergarments in the Russian baths of New York’s Lower East
Side. The photographs in the editorial, titled “Masculine/Feminine,” resemble casual snapshots, which have more
in common with personal mementos than stylized fashion images.
For “The Clients,” an editorial made in 1999 for W magazine, Juergen Teller (German, b. 1964)
photographed some of haute couture’s most loyal patrons, such as Vicomtesse Jacqueline de Ribes and Princess
Marie-Chantal of Greece, at the fashion designers’ Paris ateliers. The photographs are straightforward,
uncontrived, and devoid of the elaborate styling and deliberate preparations typical of studio photographs. The
subjects are not models posing for a fashion photograph but women who seem to have been caught in a random
moment.
The conventions of the family photo album play a strong role in fashion images made during the 1990s.
Larry Sultan (American, b. 1946) created narratives reminiscent of images in family albums for the Kate Spade
Fall/Winter 2002 advertising campaign. A series of calculated snapshots describe this fictitious family’s visit to
New York to visit their twenty-something daughter named “Tennessee.” “The Lawrence’s” are a culturally
sophisticated and stylish family photographed hyperrealistically in oversaturated color in a succession of clichéd
moments. Sultan’s images affirm and recognize their own commerciality and, like many fashion photographs, point
to the constructed nature and essential falsity of all fashion photography.
— 8.09.2007, 18:56:50
...
Tiny Vices
— 8.09.2007, 18:20:35
Tiny Vices
— 8.09.2007, 18:20:35
Błąd krytyczny! Brak głównego pliku konfiguracyjnego. Proces ładowania zatrzymany
— 7.09.2007, 17:59:28
...
Błąd krytyczny! Brak głównego pliku konfiguracyjnego. Proces ładowania zatrzymany
wykwintna małża 2007-12-05 22:22:25 wilczku szary, artyści piją piwo w cyrku, a publika czeka na linoskoczkę i jej upadek śmiertelny.
— 6.12.2007, 10:58:00
...
wykwintna małża 2007-12-05 22:22:25 wilczku szary, artyści piją piwo w cyrku, a publika czeka na linoskoczkę i jej upadek śmiertelny.
— 6.12.2007, 10:58:00
majspejs
— 28.11.2007, 03:03:06
...
majspejs
— 28.11.2007, 03:03:06
...
the depth of an idea is inversely proportional to the mass perception
— 23.11.2007, 08:06:30
the depth of an idea is inversely proportional to the mass perception
— 23.11.2007, 08:06:30
...
!
— 21.11.2007, 05:54:17
...
?
— 17.11.2007, 07:49:06
\"Jeśli jest to forma bez treści, to nie ma waloru obiektywności, no więc jest to formalizm\"
— 29.10.2007, 07:35:52
...
"Jeśli jest to forma bez treści, to nie ma waloru obiektywności, no więc jest to formalizm"
— 29.10.2007, 07:35:52
- Chciałbym życzyć wszystkim mieszkańcom wsi, a w szczególności polskim rolnikom otuchy i optymizmu. Wiary w to, że wspólnie razem przebudujemy Polskę i będziemy z niej dumni, a jednocześnie każdemu indywidualnie życząc zdrowia, pomyślności, miłości w rodzinie, solidarności ludzkiej, wzajemnego wspierania się w trudnych czasach jakich żyjemy. Wszystkim życzę Szczęść Boże
— 24.10.2007, 02:56:37
...
- Chciałbym życzyć wszystkim mieszkańcom wsi, a w szczególności polskim rolnikom otuchy i optymizmu. Wiary w to, że wspólnie razem przebudujemy Polskę i będziemy z niej dumni, a jednocześnie każdemu indywidualnie życząc zdrowia, pomyślności, miłości w rodzinie, solidarności ludzkiej, wzajemnego wspierania się w trudnych czasach jakich żyjemy. Wszystkim życzę Szczęść Boże
— 24.10.2007, 02:56:37
...
Forbidden You don't have permission to access /dno.html on this server.
— 27.09.2007, 02:38:30
Forbidden You don\'t have permission to access /dno.html on this server.
— 27.09.2007, 02:38:30
Statystyki (licznik odwiedzin: 777)
— 24.09.2007, 05:02:52
...
Statystyki (licznik odwiedzin: 777)
— 24.09.2007, 05:02:52
...
The Influence of Personal Photography Photographs inspired by personal or amateur photography, such as the snapshot and the family album picture, came to influence fashion photography in the 1990s as much as the cult of cinema. Tina Barney, Nan Goldin, Simon Leigh, Steven Meisel, Mario Sorrenti, Larry Sultan, and Juergen Teller drew on the narrative of everyday life rather than the world of fashion ideals to tell stories that lend familiarity and authenticity to the magazine page. For the premiere issue of the Village Voice’s fashion insert, View, in 1985, Nan Goldin (American, b. 1953) photographed four friends in undergarments in the Russian baths of New York’s Lower East Side. The photographs in the editorial, titled “Masculine/Feminine,” resemble casual snapshots, which have more in common with personal mementos than stylized fashion images. For “The Clients,” an editorial made in 1999 for W magazine, Juergen Teller (German, b. 1964) photographed some of haute couture’s most loyal patrons, such as Vicomtesse Jacqueline de Ribes and Princess Marie-Chantal of Greece, at the fashion designers’ Paris ateliers. The photographs are straightforward, uncontrived, and devoid of the elaborate styling and deliberate preparations typical of studio photographs. The subjects are not models posing for a fashion photograph but women who seem to have been caught in a random moment. The conventions of the family photo album play a strong role in fashion images made during the 1990s. Larry Sultan (American, b. 1946) created narratives reminiscent of images in family albums for the Kate Spade Fall/Winter 2002 advertising campaign. A series of calculated snapshots describe this fictitious family’s visit to New York to visit their twenty-something daughter named “Tennessee.” “The Lawrence’s” are a culturally sophisticated and stylish family photographed hyperrealistically in oversaturated color in a succession of clichéd moments. Sultan’s images affirm and recognize their own commerciality and, like many fashion photographs, point to the constructed nature and essential falsity of all fashion photography.
— 8.09.2007, 18:56:50
The Influence of Personal Photography Photographs inspired by personal or amateur photography, such as the snapshot and the family album picture, came to influence fashion photography in the 1990s as much as the cult of cinema. Tina Barney, Nan Goldin, Simon Leigh, Steven Meisel, Mario Sorrenti, Larry Sultan, and Juergen Teller drew on the narrative of everyday life rather than the world of fashion ideals to tell stories that lend familiarity and authenticity to the magazine page. For the premiere issue of the Village Voice’s fashion insert, View, in 1985, Nan Goldin (American, b. 1953) photographed four friends in undergarments in the Russian baths of New York’s Lower East Side. The photographs in the editorial, titled “Masculine/Feminine,” resemble casual snapshots, which have more in common with personal mementos than stylized fashion images. For “The Clients,” an editorial made in 1999 for W magazine, Juergen Teller (German, b. 1964) photographed some of haute couture’s most loyal patrons, such as Vicomtesse Jacqueline de Ribes and Princess Marie-Chantal of Greece, at the fashion designers’ Paris ateliers. The photographs are straightforward, uncontrived, and devoid of the elaborate styling and deliberate preparations typical of studio photographs. The subjects are not models posing for a fashion photograph but women who seem to have been caught in a random moment. The conventions of the family photo album play a strong role in fashion images made during the 1990s. Larry Sultan (American, b. 1946) created narratives reminiscent of images in family albums for the Kate Spade Fall/Winter 2002 advertising campaign. A series of calculated snapshots describe this fictitious family’s visit to New York to visit their twenty-something daughter named “Tennessee.” “The Lawrence’s” are a culturally sophisticated and stylish family photographed hyperrealistically in oversaturated color in a succession of clichéd moments. Sultan’s images affirm and recognize their own commerciality and, like many fashion photographs, point to the constructed nature and essential falsity of all fashion photography.
— 8.09.2007, 18:56:50
...
Tiny Vices
— 8.09.2007, 18:20:35
Tiny Vices
— 8.09.2007, 18:20:35
Błąd krytyczny! Brak głównego pliku konfiguracyjnego. Proces ładowania zatrzymany
— 7.09.2007, 17:59:28
...
Błąd krytyczny! Brak głównego pliku konfiguracyjnego. Proces ładowania zatrzymany
— 7.09.2007, 17:59:28
...
glupoty relaksuja
— 5.09.2007, 17:50:33
glupoty relaksuja
— 5.09.2007, 17:50:33
...
mam katar
— 5.09.2007, 17:42:35
mam katar
— 5.09.2007, 17:42:35
ide cos przekasic
— 5.09.2007, 03:25:57
...
ide cos przekasic
— 5.09.2007, 03:25:57