1970 aesthetic

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wallpaper by @indieandwillow on IG/@kaybrojohn on Pinterest (DO NOT REPOST AS YOUR OWN.) Hippie, hippy, boho, bohemian, the Beatles, beatles, Beatles wallpaper, here comes the sun, hippie wallpaper, hippy wallpaper, boho wallpaper, bohemian wallpaper, custom art, art, wallpaper, iphone wallpaper, Apple Watch wallpaper, android wallpaper, phone wallpaper, color palette, natural colors, natural color pallet, 70s, 1970s, 1970s wallpaper, vintage, old, aesthetic, vintage aesthetic 70s Hippy Aesthetic, 70s Asthetics, 70s Vibes Wallpaper, Beatles Aesthetic Wallpaper, The Beatles Aesthetic Vintage, 70’s Wallpaper, 70s Vibes Aesthetic, The Beatles Aesthetic Art, 70s Phone Wallpaper

wallpaper by @indieandwillow on IG/@kaybrojohn on Pinterest (DO NOT REPOST AS YOUR OWN.) Hippie, hippy, boho, bohemian, the Beatles, beatles, Beatles wallpaper, here comes the sun, hippie wallpaper, hippy wallpaper, boho wallpaper, bohemian wallpaper, custom art, art, wallpaper, iphone wallpaper, Apple Watch wallpaper, android wallpaper, phone wallpaper, color palette, natural colors, natural color pallet, 70s, 1970s, 1970s wallpaper, vintage, old, aesthetic, vintage aesthetic

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The Hitchhiking Craze: When Women Thumbed a Ride - Flashbak 70s Bohemian Aesthetic, 70s Autumn Aesthetic, 70s Core Aesthetic, 70s Core, Summer Sisters, 1970s Aesthetic, 2000 Aesthetic, Disco Aesthetic, 60s Aesthetic

The idea of a female hopping into a random stranger’s car is so foreign to today, that it almost seems impossible that a world existed where this was actually a thing. It likely was never actually a safe practice for females, but was a highly popular means of transport for girls in the hippy era. … Continue reading "The Hitchhiking Craze: When Women Thumbed a Ride"

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Joseph E. Saad
Walker Evans, Edward Steichen, Robert Frank, Ashland Wisconsin, Duane Michals, Stephen Shore, August Sander, Andre Kertesz, Behind Blue Eyes

The Stephen Shore exhibition at the Museum of Modern Art casts a wide net, including the anomalous periods when Shore worked abroad, but its main focus is his many photographs of hyper-quotidian America, our stalest shades of red, white, and blue. These quiet and straightforward pictures—of food, buildings, cars, and toilets—show that Shore is best understood as a photographer uninterested in photographing what is agreed to be worthy of capture.

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