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PUT YOUR BEARD IN MY MOUTH
YOU ARE THE REASON
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AnasAbdin

Discoholic 🪩

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祝日 / Permanent Vacation
Claire Keane
Today's Document

if i look back, i am lost

roma★
NASA
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Acquired Stardust
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seen from South Korea

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seen from United States
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@ceccamallows
La Paisanita Refuge, Cordoba, Argentina - STC Arquitectos
Architectural Design, Coordination and Management Office, led by the Architect Samuel Torres de Carvalho.
✨Happy New Year✨
Piero Fornasetti
Details from a catalog brochure for Piero Fornasetti’s line of tableware.
A short description from Barney’s website: “Italian painter, sculptor, and engraver was famously obsessed with the face of 19th-century operatic soprano Lina Cavalieri, featuring it in countless designs for his collection of tableware and home décor.” Apparently Piero’s son, Barnaba, still maintains the line today with his own interpretations.
Via peculiarmanicule.com
#stayinghome
“Beneath a sky so beautiful . . . came four and twenty elders” - Dante, Purgatorio
Gustav Doré 1868
The Shriek of Timidity.
Gustave Doré illustration for The days of chivalry, or the legend of Croquemitaine (1866).
This butterfly is not alive.
The wind of change blows hard.
Selfie at Home 2019
Will be in NYC in September 2019!!
Artist-In-Residence: Admire Kamudzengerere
Admire Kamudzengerere’s work explores identity, politics, and society, often informed by the multifaceted structural and political violence that has marked Zimbabwe’s last decade. His paintings frequently reveal an unequal world in which the powerful ride roughshod over the weak. His self-portraits, intense and undefinable, speak to personal struggle, self-definition and father-son relationships, but also apply more broadly to the theme of contemporary masculinity. An artist with an international exhibition history, Kamudzengerere was the first Zimbabwean to be invited to the Rijksakademie van Beeldende Kunsten, Amsterdam (2012). In 2017, he will mount his first solo exhibition with Catinca Tabacaru Gallery and will represent Zimbabwe at the Venice Biennale. Kamudzengerere is in residence at Triangle from March - May 2017.
“Through color, I have sought to concentrate on beauty and happiness, rather than on man’s inhumanity to man.” –Alma Woodsey Thomas
Now known for her joyful abstract paintings, Thomas taught art for 35 years in a segregated junior high school in Washington, D.C., but didn’t focus on her artistic career until after she retired in 1960 at the age of 69. Drop in “The Long Run” Rampant Abstraction gallery to see her rhythmic, pulsing “Fiery Sunset,” now on view alongside late-career work by Willem de Kooning, Ken Price, Elizabeth Murray, and more. … [Credit: Alma Woodsey Thomas. “Fiery Sunset.” 1973. Synthetic polymer paint on canvas. Committee on Painting and Sculpture Funds]
“There’s a particular sentence of Woolf’s that haunts me; I’ve written about it before, without managing to exorcise it. It appears in her novel Jacob’s Room: ‘It’s not catastrophes, murders, deaths, diseases, that age and kill us; it’s the way people look and laugh, and run up the steps of omnibuses.’
…In his autobiography, Leonard Woolf writes with pain and some bewilderment about the way in which complete strangers would react to his wife: ‘ … to the crowd in the street there was something in her appearance which struck them as strange and laughable … people would stare or stop and stare at Virginia. And not only in foreign towns; they would stop and stare and nudge one another – “look at her” – even in England, in Piccadilly or Lewes …’
Leonard makes the observation that these incidents tended to happen at moments when Virginia was lost in thought – when she had, in a sense, forgotten herself. There was something in her expression or comportment in those moments, which, taken with her unusual mode of dress, made her appear anomalous to people. Like her clothes, her manner marked her out as a woman who went out into the world without apparently caring how she appeared in it. And, as I would find out when I walked back from Canons Park station without giving my appearance a conscious thought, that is a risky way for a woman to proceed. A woman should never forget that whatever else she is, she is also an object.”
—Joanne Limburg, “What was Virginia Woolf afraid of?”
Dissecting Daisy
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