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szobel

Kerry James Marshall, Could This Be Love?, 1992.

sioxh

Ana Mendieta, Silueta Series, 1973-1978

vervediary-deactivated20190518

Beauty Papers n° 1.

Tools of Beauty by Nacho Alegre.

artsyloch

thunderstruck9

Yayoi Kusama (Japanese, b. 1929), Infinity-nets (JAAAS), 2009. Acrylic on canvas, 100 x 100 cm.

via artsyloch

elarafritzenwalden

‘El Delfín’, row housing (highly refurbished nowadays) Blanes - Selva, Girona, Catalonia, Spain; 1960’s

Estudio BSSV - Miguel Batalla, José Maria Sen, Angel Serrano, Esteban Vicens

see map

via “Cuadernos de Arquitectura” 64 (1966)

thatsbutterbaby

thunderstruck9

Pablo Picasso (Spanish, 1889-1973), Instruments de musique sur une table, 1924. Oil on canvas, 162 x 204.5 cm.

via thatsbutterbaby

pintoras

Ethel Spowers (Australian, 1890 - 1947): Still life (1929) (via Art Gallery of New South Wales)

sentimental-obsessions

Lorna Simpson, 9 Props, 1995.

thingsorganizedneatly

The Smithsonian Museum of Natural History, Division of Birds

Pictured here the famous “Feather Lady”, Roxie Collie Laybourne, and staff

Yesterday was National Bird Day according to The Smithsonian’s twitter

marisa-ramirez

caleb luke

terminusantequem

Marcia Marcus (American , b. 1928), Renoir, 1968. Oil and silver leaf on canvas, 71 ¾ x 42 in.

lesbianartandartists

Marie Laurencin, Chanson de Bilitis, 1904

“…both the painter Marie Laurencin (working in Paris in 1908) and the artist Jeanne Mammen (in Berlin in 1931) created illustrations for The Songs of Bilitis, a series of erotic poems attributed in the late nineteenth century to ‘Bilitis’, an ancient Greek philosopher, a lover of Sappho and, as was eventually revealed, an entirely fictive person. Nevertheless, when the first lesbian rights group in the United States was founded in 1955, it took the name Daughters of Bilitis both to honour the Sapphic past (in ancient Greece as well as nineteenth-century Paris) and to elude the stigma of modern words such as ‘homosexual’, ‘sex variant’ and 'lesbian’. Like 'friend of Dorothy’, 'Daughters of Bilitis’ (or DOB for short) was a term flexible enough to function as both sexual code and strategic closet. According to Del Martin and Phyllis Lyon, two of the founders of the Daughters of Bilitis, 'If anyone asked us, we could always say we belong to a poetry club.’”

Richard Meyer, “Inverted Histories: 1885-1979,” in Art and Queer Culture (New York: Phaidon Press, 2013), 17.