thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
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thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info
thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s
"The final image is the end of the film and the beginning of the debate."
The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 
Read More
Zoom Info

thefinalimage:

Cannes Film Festival | Palme d’Or Winners | The 2000’s

"The final image is the end of the film and the beginning of the debate."

The Palme d’Or, being the film industry’s most prestigious accolade, has without question been awarded to a selection of some of the finest filmmakers in recent history. It is with this in mind that, in the first of a series of ongoing posts, we focus on the films that were awarded the honor within the 2000’s. 

Read More

spokeart:

Artwork inspired by Quentin Tarantino’s classic masterpiece, Pulp Fiction.
These stunning paintings and limited edition prints were created exclusively for Spoke Art’s “Quentin vs. Coen” art show, now on view in San Francisco.
Check out the limited edition prints from this show here and the original paintings from this show here.
Zoom Info
spokeart:

Artwork inspired by Quentin Tarantino’s classic masterpiece, Pulp Fiction.
These stunning paintings and limited edition prints were created exclusively for Spoke Art’s “Quentin vs. Coen” art show, now on view in San Francisco.
Check out the limited edition prints from this show here and the original paintings from this show here.
Zoom Info
spokeart:

Artwork inspired by Quentin Tarantino’s classic masterpiece, Pulp Fiction.
These stunning paintings and limited edition prints were created exclusively for Spoke Art’s “Quentin vs. Coen” art show, now on view in San Francisco.
Check out the limited edition prints from this show here and the original paintings from this show here.
Zoom Info
spokeart:

Artwork inspired by Quentin Tarantino’s classic masterpiece, Pulp Fiction.
These stunning paintings and limited edition prints were created exclusively for Spoke Art’s “Quentin vs. Coen” art show, now on view in San Francisco.
Check out the limited edition prints from this show here and the original paintings from this show here.
Zoom Info
spokeart:

Artwork inspired by Quentin Tarantino’s classic masterpiece, Pulp Fiction.
These stunning paintings and limited edition prints were created exclusively for Spoke Art’s “Quentin vs. Coen” art show, now on view in San Francisco.
Check out the limited edition prints from this show here and the original paintings from this show here.
Zoom Info
spokeart:

Artwork inspired by Quentin Tarantino’s classic masterpiece, Pulp Fiction.
These stunning paintings and limited edition prints were created exclusively for Spoke Art’s “Quentin vs. Coen” art show, now on view in San Francisco.
Check out the limited edition prints from this show here and the original paintings from this show here.
Zoom Info

spokeart:

Artwork inspired by Quentin Tarantino’s classic masterpiece, Pulp Fiction.

These stunning paintings and limited edition prints were created exclusively for Spoke Art’s “Quentin vs. Coen” art show, now on view in San Francisco.

Check out the limited edition prints from this show here and the original paintings from this show here.


The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston
A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)
Zoom Info

The photography of William Eggleston

A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide , in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. 

Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. (x)

marvelentertainment:

Attendees of Marvel’s San Diego Comic Con Hall-H panel this week will receive this limited edition Marvel’s “Guardians of the Galaxy” mini-poster! The best part: this one’s fan-created - don’t we just have the most talented fans?

marvelentertainment:

Attendees of Marvel’s San Diego Comic Con Hall-H panel this week will receive this limited edition Marvel’s “Guardians of the Galaxy” mini-poster! The best part: this one’s fan-created - don’t we just have the most talented fans?