Madonna, 1895–1896 Edvard Munch
Always loved this painting, particularly for the sperm fetus border around a beautiful blasé woman

if i look back, i am lost
NASA
Show & Tell
let's talk about Bridgerton tea, my ask is open
Color Me Curious
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𓃗
KIROKAZE
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EXPECTATIONS

gracie abrams

roma★
RMH
Noah Kahan
Cookie Run:Kingdom Official!
Cosmic Funnies
🩵 avery cochrane 🩵
Monterey Bay Aquarium
seen from Malaysia
seen from Japan
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seen from Colombia
seen from Chile
seen from Germany

seen from United States
seen from Argentina
seen from United States
seen from Panama
seen from Syria

seen from United States
seen from Malaysia
seen from United States

seen from Singapore

seen from United States

seen from Malaysia

seen from Brazil
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@artifice-ou-nature
Madonna, 1895–1896 Edvard Munch
Always loved this painting, particularly for the sperm fetus border around a beautiful blasé woman
DEADLINE FRIDAY! (Late papers may be considered but please try to submit on time.)
UAAC Session Call for Papers: Left in the Dark
Anna O'Meara, University of Victoria, [email protected]
Panel Session | Session de panel
As Martin Jay explores in Downcast Eyes, metaphors for sight broadly relate to empirical understanding. What kinds of understandings are associated with darkness or shades of black? The dark has diverse transhistorical associations, including black out protests; black holes (Anish Kapoor); race/colorism; chiaroscuro; infinity and cosmos (Malevich); protection (Hinduism); femininity (Taoism); inner light (Kabbalah); and eternal spirit (Jacques-Louis David). While various and sometimes contradictory, certain trends appear somewhat consistently, especially the presence of ontological questions in association with darkness and the shade of black. This session encourages papers that explore transnational and transhistorical themes of darkness in relation to questions of being and nothingness. We welcome sessions both within art and art history and from a variety of disciplines that employ art historical or artistic approaches. We accept both Francophone and Anglophone proposals. This is an in-person session.
Everyone seems to be telling me that I have imposter syndrome, but like …. I’m impostering …. A grad student? Whose wages are below the poverty line? Who is barely trusted to teach one class per year for a few hours? Whose odds of success are minimal in a field that’s dying? Nah, I’m pretty sure y’all are lucky to have me.
Natia Zarandia aka ნათია ზარანდია (Georgian, b. 1990, based Tbilisi, Georgia) - Furiae, 2017 Paintings: Watercolors
me fr
this has probably been done before but oh well
Literally me and René Viénet. I really should take his email off of my wall...
Rhubarb
We used a 500w light
The kind you buy from Home Depot
And hid it above the bathroom mirror
The light that came down from the ceiling
Painted everything in a warm shimmer
The actor that played you in this film
Was not the one I would have chosen
He had a habit of smiling when he had nothing better to do
Which made the suicide attempt at the end of the film
Seem to come out of nowhere
Your professor friend told you to take the scene out
But I was adamant that the scene stay in
It’s the only shot I like
If you really want to make everything cohere
Just get rid of the rest of the film where he’s smiling for no reason
You could have said something
That’s what directing is.
Balibar
I misread something once and assumed for many years that Etienne Balibar was Althusser’s wife
He looks like he gives really good hugs
Rhubarb #2
See, knocking toward recorded states
Knowing most days ever deduced you
No season forwarding miles
She, wraith-like, lifts the sitter through the ether
Up through dirt and regret
Her spirit-name lapping over stones on the river
The white sheet, wet, tracing time in wooden faces
In Illyrium, mine forever
Out of nickel slugs, the lie and splinter gang
Stay with me stage-left in the hallway of your laundry room
The shadow of your wrist
The black summer outside in cicada hum
The stage painted black
Yellow dressing room lights dimly during the day
While classes went on and we slept in sawdust
The sawdust, the centipede
The tile floor of your bathroom under the risers
Bleecher marks on your skin
Thoth hidden in the bathtub Armada among artifacts like the cold faucet
You, Anise, in cattails
Stepping on boards across marshes
You, sweet friend, red seraphim, yours alone
Ewe’s horn and fool, come and find me
Malefic foe of D’ne, attacking the temple headfirst
Shallow gold passage of oil that flows over her feet
The lady machine bewitched
The Dodo’s song on the back of a washboard
Along Katib’s reed and whistle
Elephants sigh in empathy with the ghost
He knows
When the smiling snake of Tabitha and Abbadon
The red scalloped rib of the cinema curtain
The rabbit’s pink nose on heaven’s cloud
Air graveyard pipes
And violin bow the singing saw
Evil eye on sister Venus climbing the miller’s wheel
Speaking her angel’s papyrus with disappearing ink
Remember me before we knew warm river shores
Long fingers in sand
The soil that hangs on branches standing upright on its banks
Pulling the threads of it dark brown roots
Tangled in telephone wires red and blue
The beige receiver unscrewed
The voice in carbon cupped in your hand
Yellow vinyl, bareback, cigarette smoke hovering into the austere void above
Soft plastic tissue released from engines in the blue sky
The deep end of the living room
Suspension of the lithe body
The proximity and weight
Roaring lion’s voice and the beasts it kills like an open door
Tawny and overgrown rusted junkyard
Heat and sweat on your cool face underneath
The tattered orange towel that covers the window
The tortoise shell
Love or the dark cabinet
I waited hidden for hours crying alternately sniggering through the peep hole
As the party continued
As breath quickened and stopped
Teapot Dome changes a gourd half carved out an intricate path
Stiff paper walls
Labyrinthine circuit, unseen, unknown
To that breathing thing, unfolding inside itself in cellulose
Bark-like, dry, a wonder
Tightly winding the mouse a sewing needle
Incredibly beautiful.
Paul Wunderlich (1927-2010)—Per Aspera Ad Astra [lithograph, 1964]
Rabbits
Keep reading
Aurora Borealis (1865) - Frederic Edwin Church
Oda Iselin Sønderland (Norwegian/Irish, 1996) - Morild (Fire) (2022)
“THE RAPTURE OF THE DEAD MAIDEN” WELDER WINGS // 2018 [digital collage | unknown dimensions]
Smtimes your house is haunted because there's a ghost sometimes your house is haunted because you miss grandma and your mom misses her even more sometimes your house is haunted because the subtext of how the last owners decorated rubs you wrong way sometimes your house is haunted because you've sublimated the fact that you didn't want to move in the first place and Sometimes your house is haunted because there's a carbon monoxide leak. Lots of options.
Sunlight and shade
Now available on Redbubble as a print
Dusk Forest Study & Swarm (2021) shop: suhaylah.bigcartel.com instagram: @suhaylah.h
Eugène Thivier, Le Cauchemar, 1894.
Alberto Abate (1946-2012) — Perseus and Medusa (oil, canvas, 1979)