VHS night :~)

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Interview Vampire Daily

Game Changer & Make Some Noise
occasionally subtle
Cosimo Galluzzi
h

oozey mess

if i look back, i am lost
The Stonewall Inn
Lint Roller? I Barely Know Her
PUT YOUR BEARD IN MY MOUTH
Game of Thrones Daily
Jules of Nature
Noah Kahan
untitled
Fai_Ryy
The Bowery Presents
RMH
Aqua Utopia|海の底で記憶を紡ぐ
Misplaced Lens Cap
seen from Tunisia

seen from Türkiye

seen from Malaysia

seen from Thailand
seen from Iraq
seen from United States
seen from United States
seen from Bangladesh
seen from United Kingdom
seen from United States

seen from Türkiye
seen from United States
seen from France
seen from Malaysia

seen from United States
seen from United States

seen from United Kingdom
seen from France

seen from Cambodia

seen from South Korea
@aboxofsky
VHS night :~)
A SILK HERALDIC RUG, POSSIBLY KASHAN, CENTRAL PERSIA, EARLY 20TH CENTURY
Susan Meiselas.
children’s dreams / al-yarmouk, palestinian refugee camp in damascus, syria
little palestine; diary of a siege (2021) dir. abdallah al khatib
The Lazy Italian Girl (1757) by Jean Baptiste Greuze
god, you take a five minute break and some asshole paints a picture
I bet Jean Baptiste wasn't helping with the washing up or doing the laundry
Teen girls feeling the same for 269 years
Beijing ~ China (1993) by Gueorgui Pinkhassov — Street scene with daily life activities and reflections
comfy bed. take me home. to the place. where i belong. pillow blanky. sleeping soundly. take me home. comfy bed
“Out of Body” Artwork by Wani Souma
Mantle, Peruvian, Paracas-Nasca, South CoastEarly, Intermediate Period, Phase 1AD 1-100, Peru, South Coast.
Design: rows of shaman figures with heads thrown back, worked solidly with wool.
Camelid fiber plain weave embroidered with camelid fiber in stem-stitch, 142 x 241 cm (55 7/8 x 94 7/8 in.)
https://collections.mfa.org/objects/36603
This textile is TWO THOUSAND YEARS OLD.
It looks like it could have been made last year. It is SO bright and whole. I am staggered.
Louis Fratino: Yellow sleeper. (2019)
Keith Haring's story is usually told as a solo rise, but that version leaves out Angel "LA II" Ortiz, a Puerto Rican artist from the Lower East Side who collaborated with Haring from the very beginning. Angel was a teenager when they met, already active in the neighborhood's graffiti culture. He taught Keith how tagging worked on the street, painted alongside him, and guided him through spaces Keith did not come from. Angel's tags, infill, and visual language appear across works that later became associated with Keith Haring's public legacy.
After Keith Haring's death, the story changed. Museums mounted exhibitions, publishers released books, and merchandise entered the market under a single name.
In that process, Angel Ortiz was framed as hired labor instead of a collaborator, even though his work remains visible on paintings, sculptures, and objects shown in major institutions today. Angel has said openly that race played a role in his erasure, and photographer Clayton Patterson has explained how institutions chose a simpler version of the story that centered one white artist and removed a Puerto Rican collaborator. Angel Ortiz is still working as an artist today, and the time has come for the art world to give him clear credit for the work he helped create…yuliaxgon
residents of the los angeles gay community service center's "lesbian house" photographed by bee ottinger for her thesis, c. 1972-73.
Duane Michals,Things are Queer, 1973