Pool # 27 - Ann Goldberg , 2016.
Canadian , b. 1970s
Oil on canvas , 30 x 48 in.
OIL PAINTING.
I found lots more on the artist's website, and then came across Percy in the Pool, which almost did me in 🥺🧡
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Pool # 27 - Ann Goldberg , 2016.
Canadian , b. 1970s
Oil on canvas , 30 x 48 in.
OIL PAINTING.
I found lots more on the artist's website, and then came across Percy in the Pool, which almost did me in 🥺🧡
it's because you're always on that damn JSTOR
"The Hot August" by Yuri Podlyasky (1984)
my psychiatrist just diagnosed me with 19th century russian literature character
I'm like if a chill girl had the need to control everything around her
St Irenaeus was not having it with your misogyny.
(Attributed to St. Irenaeus in the Commentary on the Hexaemeron attributed to St. Anastasius of Sinai. Scott Hahn quotes this somewhere but incorrectly cites Book I, Chapter 10 of Against Heresies.)
magnoliasoup
Gordon Mortensen (b. 1938), Meadows Ridge, Woodcut on Paper
no no, my eyes are just naturally really shiny like water shut up
that Brian Eno quote about how whatever you find most repulsive about a medium (film grain, record scratches/fuzz, CDs skipping) will be the first thing you try and emulate once that medium is obsolete because it's "the sign of a moment too powerful for the medium assigned to contain it".... man.......
“Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.” -Brian Eno
text id: A not admitting of the wound (1188) by Emily Dickinson. // A not admitting of the wound / Until it grew so wide / That all my Life had entered it / And there were troughs beside — // A closing of the simple lid that opened to the sun / Until the tender Carpenter / Perpetual nail it down — /end id.
Attimi successivi (Successive Moments), 2015 - Luciano Ventrone (b. 1942)
oil on linen | source:
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“Strawberries” by Igor Kornilov (linocut, 1958)