Nikolai Astrup
Bird on a stone,1916

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PUT YOUR BEARD IN MY MOUTH
we're not kids anymore.
dirt enthusiast
TVSTRANGERTHINGS

Product Placement

if i look back, i am lost
Cosimo Galluzzi

Kiana Khansmith
KIROKAZE

shark vs the universe
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izzy's playlists!
Xuebing Du
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Peter Solarz
Three Goblin Art
Mike Driver
wallacepolsom
seen from Germany
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@aladybirdqueer
Nikolai Astrup
Bird on a stone,1916
Janet Hill
“Miss Mink :The Cat Countess”,2019
Louis Icart (French ,1880-1950)
Lovers, 1930
Errol Le Cain (1941 – 1989)
selfies are weird - and a straaaange close-up of my eye (@youreyesaregems)
Kay Nielsen’s illustration for the book “In powder and crinoline”(1913)
Mirko Hanák (1921 - 1971)
Pentti Sammallahti (Finnish, b. 1950, Helsinki, Finland) - 1: Kitakata-Shi, Japan, 2005 2: Toab, Mainland, Orkney, 2016 3: Iceland, 1980 4: Sikinos, Greece (Two Cats), 2015 5: Folegandros, Greece (Cats on Rocks), 2010 6: Untitled (Monkey on Balcony / Two Men in Boat), 1999 7: Cilento, Italy, 2000, Photography
some environment doodles
ig: simply.cie
Indya Moore photographed by Agnes Lloyd-Platt
These are a handful of paintings from the series “Butch Heroes,” by artist Ria Brodell. The concept was based on her meticulous research, digging up historically forgotten figures from all over the world from between the 1400s and the 1800s, of people who were assigned female, had documented relationships with women, and whose gender presentation leaned towards the masculine – passing as men or dressing and working in typically “male” ways for the time. She grew up Catholic, and so drawing from that, the depictions are reminiscent of saint cards (and pretty heavy on the martyrdom, warning for that). She doesn’t use pronouns for any of them because there is no way to know how they would have self conceptualized then, let alone now – the only thing we have is the descriptions of how they lived their lives, and how they died. A lot of them – in particular, the “non martyrs” – were “deathbed discoveries,” a phrase used often in old newspapers and writings about people who passed until after dying. There is something so powerful to see depictions of people like us as revered saints… particularly as these stories have been hidden from history. More paintings, along with detailed descriptions of these peoples’ lives: (x) More in depth information about the series and her process: (x) To buy the book (I have it, its gorgeous): (x)
I love things like this - telling queer stories. And it gets me thinking about different ways of talking about/conceptualising gender over time. (How to talk about them/which words/whose history etc. - hence the different tags.)
selfies and being seen
I want to write about posting selfies, something about being seen, and the way I’ll get dressed up so that I’ll have a selfie to post online (mostly on IG) - because I’m doing it for me but I still need (it) to be seen. Some days I make myself put together an outfit, and put make up on, even if it seems like a lot of effort and I’m not sure I want to, because it almost always feels better afterwards, and I have something to show. Or I’ll do it if I have something I want to say but I need a photo to go with it. And at the moment, for me, there’s not really anywhere else to be seen (other than a bedroom) except online. I think other people must be using posting selfies online like this, too - it would be interesting to hear other people write about how it is for them. The good thing, though, is that that means I can be seen by the right people who get it and see me how I want to be seen - so I feel less mis-read, too. (More complicated thoughts on that that I can’t quite figure out just now.) There’s a lot of gender stuff going on in my head at the moment - I want to write about that too, at some point, when I can collect it all together. It’s also hard to know where; I feel like I’m spread quite thinly around different online spaces without properly feeling at home anywhere. And each place has a different format/different strengths and different things I like and dislike about it. But I feel like it’s more important to figure that out - where to be and what to put where and how - the way things are now, and the way my life looks.
it’s five-year-old girl fashion time (with bunches! and excellent socks!) (if i cut my hair off i can’t have bunches so i should make the most of it i guess?)
Can we please bring back parasols? It gets hotter every year and hats just aren’t cutting it anymore! I want to carry around something pretty that keeps me cool and also I can whack people with if I need to!
i’m thinking about how much the style of illustrations can define any book, for children everywhere… and our perceptions of the mood of a ‘style’ are so culturally ingrained; taught to us subtly from everything. for example:
brett helquist’s illustrations for a series of unfortunate events by lemony snicket looked like this:
they were evocative in a grim sort of way. they were really good, of course, but there was an undeniable twinge of gloom, of sorrow to them, which meant that as illustrations they added so much to the experience of reading the books, and we don’t give it enough credit for that!
whereas take tove jansson’s moomin books’ illustrations, by herself– so warm and nostalgic:
her work was stylistically memorable and recognisable. even with the monochromatic illustrations, you’d never confuse her art with brett helquist’s art. the moomin books and the a series of unfortunate events books could never have been successful if they had switched to each other’s art styles.
and another famous children’s book illustrator that comes to mind– quentin blake, who illustrated roald dahl’s books, such as matilda and charlie and the chocolate factory. you’d be hard pressed to get yourself a version of the texts without his illustrations, which look like this:
his illustrations captured the whimsicality, the fun, the slight enticingly rude sort of edge to roald dahl’s writing so well for children–in a way that meant that they’d get the feeling of the book from the images, too.
honestly, i can’t help thinking that 1. illustrations often make or break children’s literature.; 2. they definitely contribute to the collective memory and love of a text; and 3. illustrators are underappreciated.