The National Cash Register Building at the 1939 New York World’s Fair. More amazing images here: http://www.theatlantic.com/infocus/2013/11/the-1939-new-york-worlds-fair/100620/
Great images from the Documerica Project, created by the Environmental Protection Agency in 1971, via Slate. Here, A bride and her attendants in New Ulm, Minn., in October 1974 (Art Hanson/National Archives, Records of the Environmental Protection Agency)
The bride looks a bit young … right?!
"The National Archives in Washington, D.C., edited through the archives of Documerica and has put on view an exhibition titled “Searching for the Seventies: The Documerica Photography Project”that will run through Sept. 8 in the Lawrence F. O’Brien Gallery.”
To mark the news that the Senate has approved comprehensive immigration reform, BuzzFeed has published a series of stunning photographs from our Manuscripts and Archives Division showing immigrants who arrived at Ellis Island in the early 1900s. The images were taken by Ellis Island clerk Augustus Sherman, and are definitely worth checking out. Our whole digitized collection of Sherman photographs can be found here.
A man vacuums dust from his keyboard in a suburb of Bamako. In Mali, music is the maximum expression of public emotion, and musicians are essential for every kind of celebration. The jihadis who took control of the north forbade music and smashed instruments; one well-known singer says that they threatened to cut out her tongue.
A slideshow of photos by Jehad Nga, who traveled with Jon Lee Anderson as he reported from Mali earlier this year: http://nyr.kr/11LSgUl
Malian music is my favorite type of pop music from Africa. Very sad :(
Commercial Lighting - Shopping Bag Market Doug White (No date)
From the project/exhibition Form & Landscape: Southern California Edison and the Los Angeles Basin, 1940-1990: http://pstp-edison.com/about/
Nicolas De Largillière, Étude de main (Study of Hands), 1715 (Louvre)
Marie Cosindas (b. 1925)
Floral with Golden Vase, 1965
Dye diffusion transfer print
© Marie Cosindas
Courtesy the artist (for the Amon Carter Museum of American Art)