Standing stark against silent desert backdrops like sculptures made for Burning Man, these leftover Soviet structures are actually bus stops scattered throughout one of the most sparsely populated regions on Earth.
Photographer Christopher Herwig followed bus routes from Estonia to Armenia to photograph odd little roadside shelters in former Soviet satellite states for a new book.
The Artplay Design Center in Moscow was the host to the opening of the Artmossphere Street Art Biennale. This is the first event like this in Russia.
The exhibition included an indoor portion, presenting work and installations by participating artists, as well as outdoor murals created especially for this event.
These are painted by Momo (USA), Sat One (Germany), Elian (Argentina), Hyuro (Spain), 2501 (Italy), Nicolas Barrome (France) and Erosie (Netherlands) while Spanish artist Okuda will introduce а 4-meter sculpture at Muzeon Art Park.
In addition to the big art show, murals and public art objects, the show includes a retrospective of American photojournalist Martha Cooper, devoted to the history of graffiti and street culture.
Photo credit: Seqret.
A man practices flyboarding near the village of Olenevka, Crimea, in August, 2017.
Image Credit: Photograph by Pavel Rebrov / Reuters
Source: Photos of the Week: 8/5–8/11 – The Atlantic
The Pripyat Ferris Wheel (photograph by Alexandra Jade Flintoff)
Children’s playgrounds were prolific in the USSR.
They formed an integral part of the urban landscape, and by the 1970s and 80s these basic metal affairs appeared in almost every park across many of the larger Soviet cities.
They were built outside schools, beneath church towers, and on the side of roads.
As with many of the other fittings associated with the USSR, playground accessories were usually produced en masse at large manufacturing plants.
As a result, there was a tendency for these to follow repetitive patterns and designs: with playgrounds and parks from Eastern Europe to Russia’s Pacific Coast often featuring identical sets of swings and seesaws, rockets and roundabouts, bridges and monkey bars.
An abandoned Young Pioneer Camp in a forest in Russia (photograph by Darmon Richter)
Russian fairy tales from the Russian of Polevoi, by R. Nisbet Bain, illustrated by Noel L. Nisbet; 1915; Frederick A. Stokes Co., New York.
A collection of Russian fairytales translated from the Russian of Nikolai Polevoy, a notable editor, writer, translator in the early 19th century.
The translations were made by Robert Nisbet Bain, a British historian who worked for the British Museum, and a polyglot who could reportedly speak over twenty languages fluently.
He famously taught himself Hungarian in order that he could read the works of Mór Jókai in the original after first reading him in German, going on to become the most prolific translator into English from Hungarian in the nineteenth century.