Bande à part

[violentwavesofemotion-deactivat]

“I’m not doing awfully well but I’m trying very, very, very hard,”

— Anne Sexton, from a letter to Florence Ehrhardt, c. February 1974

[kortamisha]

Carolyn Bessette Kennedy by Bruce Weber

[socialclaustrophobia]

Michal Martychowiec (British, b. Poland 1987), from the beginning the end, 2010, part of a trilogy devoted to the thread. Cyanotype on paper, 42 × 60 cm. more

[floriental]

Love is all right for those who can handle the psychic overload.

Charles Bukowski (via floriental)

[tomorrowcomesomedayblog]

Jean Seberg, calm in trees

[midnight-charm]

Yumi Lambert photographed by Jackie Nickerson for Vogue Australia September 2017

Stylist: Christine Centenera Hair: Sophie Roberts Makeup: Maki Ryoke

[fridaynotes]

[wordsnquotes]

I am not sorry for who I had to become in order to survive.

Schuyler Peck  

[northmagneticpole]

L’Amant-Jean-Jacques Annaud

[adieufranz]

Comme des Garçons shot by Brian Griffin in Tbilisi, Georgia (1989). 

[plasticplums]

takeshi kaneshiro during the filming of fallen angels (1995)

[luthienne]

I have done nothing all summer but wait for myself to be myself again —

Georgia O’Keeffe, in a letter to Russel Vernon Hunter  

[krabkrap]

© Luis Alberto Rodriguez

[goodreadss]

We assume that others show their love in the same way that we do and if they don’t follow that equation, we worry that the love is not there.

Amy Przeworski, The Love in Chicken Broth  

[thunderstruck9]

Louise Bourgeois (French/American, 1911-2010), A Flower in the Forest, 1998. From the series The Geldzahler Portfolio. Lithograph in colours on BFK Rives paper, 57 × 76.5 cm. Edition of 75 + 15AP

[cavetocanvas]

Robert Mangold, Circle In and Out of a Polygon 2, 1973

From the Guggenheim:

In 1973 Mangold created at least four versions of Circle In and Out of a Polygon; two were executed on canvas and two on Masonite. In all four the interior graphite line becomes interchangeable with the top, left, and bottom borders of the support. Similarly, half of the circle is outlined on the acrylic surface, while the other half continues as the curved edge on the painting’s right. Mangold challenges his viewers to mentally reverse such images in order to comprehend the compositional nuances of the geometric abstraction. It is this emphasis on the conceptual basis of vision that truly links Mangold to the Minimalists, who brought their audiences to an unprecedented level of perceptual awareness.

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Bach: The Art of the Fugue, BWV 1080, Contrapunctus I 

Glenn Gould