VANITY

[rzmryn-deactivated20240214]

Louisa Gagliardi, Souvenirs, 2018, gel medium and ink on PVC, 74 x 115 cm

[amare-habeo]

Wenzel Hablik (Czech-German, 1881 – 1934)

Luminescent Algae. Aquarium in Naplesi, 1911

Colored ink on paper, 49 x 63,5 mm

[amare-habeo]

Ernst Ludwig Kirchner (German, 1880−1938) 

Two Dancers (Zwei Tänzerinnen), 1910-11

Oil on canvas

[jazbaaati]

Adrienne Rich, When We Dead Awaken: Writing as Re-vision, from On Lies Secrets and Silence.

[hardtoreadings]

Setting. Stills from Love A Loves Me! by Hard to Read, 2018.

[11-9n]

““What is style?” the American modernist has asked. Her own reply: “Style is thinking.” A riddle of unconscious excitements and conscious choices, style is a way to fascinate oneself and others – and to transform oneself and the world. It is an attempt to make the ordinary and the tragic more bearable. Style is a didactic impulse that aspires to banish doubt, a form of certainty about everything elusive and uncertain. Style is at once fleeting and lasting, and it has everything to do with excess – even when its excesses are those of austerity or self-denial. It is too much and it is nothing at all, and it tells all kinds of stories about the seams between public and private life. As a form of pleasure, for oneself and for an audience, and as an expression of the wish to exceed and confound expectations, to be exceptional, style is a response to the terror of invisibility and isolation – a wish for inclusion. Above all, it is a productive act that, although it concerns itself with the creation and experience of brilliant surfaces, is powerful because it unsettles what we think we know about the superficial and the profound.”

— Lisa Cohen, All We Know: Three Lives

[llo-ro-na]

the handbags of Hitchcock: dial m for murder (1954), north by northwest (1959), psycho (1960), marnie (1964)

[amare-habeo]

Man Ray (American, 1890-1976)

Too Full (Le trop plein), N/D

Ink on paper, 35 x 27 cm

[kitduckworth]

That is why I write, and why I have to. When I feel swamped in my solitude and hidden by it, physically obscured by it, rendered invisible, in fact, writing is my way of piping up. Of reminding people that I am here. And when I have ordered my characters, plundered my store of images, removed from them all the sadness that I might feel in myself, then I can switch on that current that allows me to write so easily, once I get started, and to make people laugh. That, it seems, is what they like to do. And if I manage this well enough and beguile all the dons and the critics, they will fail to register my real message, which is a simple one. If my looks and my manner were of greater assistance to me I could deliver this message in person. ‘Look at me,’ I would say. ‘Look at me.’ But since I am on my own in this matter, I must use subterfuge and guile, and with a bit of luck and good management this particular message will never be deciphered, and my reasons for delivering it in this manner remain obscure.

anita brookner, look at me (1982)

[flimslit]

dial m for murder (1954)

[01sentencereviews]

Sometimes I think that life would be so much easier if we didn’t have to think about being boys or girls or men or women or old or young, fat or thin… if we could all just be certain we were the same. We might be bored, but the danger of life and of living would be gone…

The Secret Diary of Laura Palmer, “August 7, 1984″ by Jennifer Lynch (via 01sentencereviews)

[amare-habeo]

Wilhelmus Gerardus ‘Willem’ Muller  (Dutch, 1859-1923)

Sleeping couple, N/D

Oil on canvas, 25.5 x 18.0 cm

[01sentencereviews]

The Secret Diary of Laura Palmer, by Jennifer Lynch

[01sentencereviews]

Maybe that’s how I should start thinking. Maybe I should be a better person and not think so much all the time about what is happening to me. I hope someday soon I’ll be good enough at this to rid myself of all the things that trouble me so. Things I still cannot even describe other than in bits and pieces. If I am a better person, and if I try harder every day, perhaps all of this will work out.

The Secret Diary of Laura Palmer, by Jennifer Lynch (via 01sentencereviews)

[ratak-monodosico]

Oblique Strategies - Brian Eno and Peter Schmidt

[jonty--tiplady-deactivated20190]

‘extremely loveable details of theory of large cardinals better than angels’, 4th mindfolded drawing, with soft orange foam ear plugs, 15.45-16.20pm, Saturday 27.10.18, cloudy blue sky, longing, some tiny blind retouching in paint 

[amare-habeo]

Rudolf Bauer (German, 1889 - 1953)

Men in smoking, N/D

Watercolor and drawing in India ink, 30 x 40.5 cm