gngrgrrrl @gngrgrrl - Tumblr Blog

so metropolitan museum of art has a register of books they’ve published that are out of print and that you can download for free! they’re mostly books on art, archeology, architecture, fashion and history and i just think that’s super useful and interesting so i wanted to share! you can find all of the books available here!

thegikitiki

Tropical Cocktails, 1964

thegikitiki

Source: The Giki Tiki Archives

richardstabbert

Keith Haring's story is usually told as a solo rise, but that version leaves out Angel "LA II" Ortiz, a Puerto Rican artist from the Lower East Side who collaborated with Haring from the very beginning. Angel was a teenager when they met, already active in the neighborhood's graffiti culture. He taught Keith how tagging worked on the street, painted alongside him, and guided him through spaces Keith did not come from. Angel's tags, infill, and visual language appear across works that later became associated with Keith Haring's public legacy.

After Keith Haring's death, the story changed. Museums mounted exhibitions, publishers released books, and merchandise entered the market under a single name.

In that process, Angel Ortiz was framed as hired labor instead of a collaborator, even though his work remains visible on paintings, sculptures, and objects shown in major institutions today. Angel has said openly that race played a role in his erasure, and photographer Clayton Patterson has explained how institutions chose a simpler version of the story that centered one white artist and removed a Puerto Rican collaborator. Angel Ortiz is still working as an artist today, and the time has come for the art world to give him clear credit for the work he helped create…yuliaxgon

miiilowo

where is my favorite painting i need to find my favorite painting

miiilowo

a break in their day by david hettinger. i loveyou

cilantroodon

[ID: A blotchy-looking painting of a person and a cat sleeping on a made bed in a green room. End ID.]

frostedmagnolias

Roller Printed Day Dress

c. 1815

Augusta Auctions

mimicofmodes

This piece was won at Augusta Auction by someone who is donating it to the museum where I work! Very very excited for that, and also thank you for putting this on my dash today as I forgot that I'm going to her apartment today to see it.

ladydominion

@mimicofmodes thank you so much for sharing! Would you, pretty please, be able to share more photos once you receive the garment? Very curious about how that centre front closure works...

Also, really REALLY appreciate donors like this who help save beautiful pieces of history! 🤩❤️🙏🏻🙏🏻

mimicofmodes

Yeah, absolutely! One of the awesome things about this new job is that the collections database is online and I can publish new records to the web portal when I'm done cataloguing; another awesome thing is that there is no rule against employees sharing pics on their social media accounts.

I didn't think to take photos when I saw it today, but I can tell you that it's a basic drawstring front (one of these is patterned near the beginning of Regency Women's Dress - a wide front piece with a slit down the center to about the middle of the stomach, with a drawstring in the neckline hem and in a tuck just under the bust) with a slight difference: one side of the slit is made as usual with a very narrow hem and the other side with a 1/2"-3/4" hem, and there's a tiny self-fabric button on the first side to meet a small thread loop on the second, which holds the slit closed below the lower drawstring. That's something I've never come across before in this style.

ladydominion

Is it just me or does it seem the entire front of the dress is open to the skirt hem?? 🤔🤔

I can't quite picture the button closure but eagerly await more photos or link to the garment on the museum website!

mimicofmodes

That's because the hem side of the opening continues down the front as a tuck! It's a bit of an illusion.

ladydominion

GENIUS!!! 🤩🤩

Thank you!!

elfgirlcraftworks

This weekend was Balticon 59 and I entered my second ever Masquerade. The field of competitors was fierceand I entered as a journeyman.

My entry was the Spite Ensemble I've been working on. I titled it "In Memory of Black Suffragettes".

The script I had for the moderator to read as I modeled:

On August 19, 1920, the 19th Amendment was ratified, stating “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.”

That should have meant that ALL women had the right to vote, but in reality, Black women, who had long been part of the suffrage movement, and Indigenous women, who inspired it, were once again left behind by their white peers.

Even now, protections once offered by enforcement of the Voting Rights Act of 1965 have been rolled back and we are hurtling backwards to a time where literacy tests and poll taxes kept all but “respectable” people from casting their ballots.

This ensemble was made with turn of the century patterns and an Ankara print the style of would have been available at the time. White was chosen to emulate the outfits worn by Suffragettes of all backgrounds.

After literal hours of deliberation the judges made their decision: I was named Best in Class Journeyman for Presentation and Best in Class _*Master*_ for Workmanship! Usually you have to win 3 awards as Journeyman to move up to Master

All in all, Balticon was a blast and I'm already planning next year's entry. Maybe a big fantasy ball gown...

elfgirlcraftworks

Oh hey, I did end up doing a big fantasy ball gown this year!

And I won Second for Presentation and Best in Class for Workmanship!

ullathynell

This piece is now available as art prints (worldwide shipping)!

I originally created this illustration for the cover of the book The Dragon of Ynys, written by Minerva Cerridwen and published by Atthis Arts (2020).

nobrashfestivity

Peter Hujar

ttrraasshh

Rock reliquaries by Sarah Flavin

bethanydelleman

Maybe it's naive of me, but whenever I see portraits like this, with just a father and daughter, it restores my faith in humanity a little. Because people seem to love this idea that fathers never loved their daughters in the past and only saw them as bargaining chips for marriage or whatever, but look at the guy in the first portrait on the left, he loves that little girl! And the dad trying to do his work while his daughter bothers him with an Old Timey Barbie. The man teaching his daughter geography, his expression is so soft! The way the man in the last portrait holds the little girl's hand! And none of these are incidental, these aren't photographs, someone (probably the father) paid good money and sat down for hours so that they could have a painting of themselves and their daughter. Probably because they loved their daughter.

From left to right: 1795 Michał Jerzy Mniszech with his daughter Elżbieta - Marcello Bacciarelli; Christopher Anstey and his daughter Mary Ann by William Hoare 1776; A Musician and His Daughter by Thomas de Keyser 1629; The Geography Lesson (Portrait of Monsieur G. and His Daughter), 1812; Jean-baptiste Isabey And His Daughter; Portrait of a Young Girl and Older Man by William Harrison Scarborough

(this is probably somewhat related to my other favourite genre of painting, Husband With Multiple Kids Making Come Hither Eyes At His Wife)

janeeyreofmanderley

oh I love those! People being people is one of my favourite kinds of paintings and an important reminder that people in past times were not all that different. There were dads who loved their daughters fiercely. There were fathers who happily looked after their babies too. The German reformer Philip Melanchton for example had a cradle in his office. His wife was busy organising a household for 20 people- she was out and about, he mostly worked in his office, it made sense for him to look after their babies too babies while she dropped by at snack time.

in fact often if it was kind of safe dads had the babies in their workshops for just that reason as we can see in these paintings:

The left is “the busy father” by Theodore Weber, the right one is “At the china repairer’s “ by Wenzel Tornoe. All dads who are actively involved in childcare and a painter who thought it was a cute topic rather than anything ridiculous.

obi-troll-kenobi

I raise you:

First Lesson by Akseli Gallen-Kallela (1865 - 1931)

Un Coup De Main (The Helping Hand) by Émile Renouf (1845 – 1894)

Italian Winegrower And His Daughter by Francesco Baratta (1590-1666)

nn-ee-zz

I have surprisingly been getting messages from people asking whether I'd do a post about my design notes for the deadly seven sins. Alright then, here goes;

Design Notes; The Seven Deadly Sins

Greed points at everything they want and grasps anything they can. Their true form is unseen. Their own hand partially blinds them. Different eyes puncture their crown, stolen from others. They float, detached from all. Their stick is sharpened at both ends

It is the first and oldest design, dating back to 2023

The stick sharpened at both ends is a reference to Lord of the Flies (in the book, one end of the stick goes into the earth while the other holds a severed head) I wanted it to symbolize violence

Sloth exists in a wrapped cloth that provides comfort but muffles all sensations. Sloth doesnt see, speak nor hear. The cloth overwhelms them. They are bound by a rope whose edge reaches inside their confinement, giving them the ability to free themselves if so desired.

I made an extra effort to put the rope within Sloth's control, to avoid associating inertion from mental illness to laziness

I wrapped my Blajah plushie with a bed sheet and used my robe's belt as rope to get a picture reference for the upper body. Despite eerie origins, my designs come into paper with a lot of silly methods.

Pride exists inside a golden, hollow statue. Their gaze is set upon a cracked book of pages set in stone. Their laurel crown is sharpened to the point of horns. Pride can be set free if they break the outer shell that binds them with the gavel they use to condemn others.

The pose and clothing is a reference to the painting The School of Athens, by Raphael.

Being mettalic, the book only reflects back themselves. Even if you interpret it as stone, it would still work since the pages remain static

I like to imagine the rotten legs dragging their heavy statue shell around. Ever since I was little I have a strange fear of statues moving

Gluttony is a stomach, living and consuming themselves within their confinment. They’re not represented by an underweight or overweight person; it had to be something everyone has. Their scale is purposefully unspecified; because everyones is different.

The design resembles the Horseman of Famine because gluttony and famine are connected; the excessive hoarding by some people causes famine to others. They're like two different plates on a scale

While the basic representation is just fat, I never considered drawing an underweight person to counter it and appear subversive. When talking to a friend recovering from an eating disorder they mentioned how cheap and uncomfortable it is when people use extreme thinness just for the sake of horror and I have to agree. I always avoid drawing real bodies for horror

Lust is the only one who tries to disguise itself with a human appearance, tho it has too many hands. One hand to beckon, one to threaten, and one to silence you. It kneels because not all of its victims are adults. It lives undercover and invites you in as well

Many asked about the fourth hand: it's the one you only notice afterwards and are left wondering what it means, whether it's an innocent gesture or not. How it made you feel.

It has 2 other variation designs. While what I made before is beautiful, it is not unsettling enough. It has the artstlye of an angel rather than something human and dangerous

I settled on the design after a passage in the book Second-Hand Time, by Svetlana Alexievitch. It was a passage about a teen abused by a military squad, killed when she got pregnant, and mocked over how underveloped her body was. Because of that my original idea was to have Lust wearing military boots, but that would restrict the concept too much. I thought that drawing would make that passage less haunting to me, but to no avail.

Envy is a slowly burning and constricted heart. It covers its identity with a mirror; the more it seeks to resemble the reflection of others the less it will resemble itself. But even the reflection is broken, inaccurate, and unsatisfactory.

Many have said the concept looks like a chrysalis or a flower bud, unable to flourish. I like when people interpret my drawings, they often find beautiful meanings that escaped me

I pondered whether to paint the mirror in front of them black, to symbolize phone screens, but decided against it because it would blend into the background

Least popular design but one where people have told me ''I cant stop thinking about it'' the most, which made me cherish it a lot

Wrath is not a beast acting ravenous, but a human thing slowly crawling towards you. All of their actions are justified by the halo they claim to be righteous. The closer they get, the more they shed their humane appearance

It was a challenge to make wrath differ from someone being rightfully angry. It applies to all designs; how to portray dangerous excess to very common and not entirely wrong emotions.

Wrath has no legs. Nothing to stand on

''Little by little, it turned into that wild fury in which the eyes camouflage with a black veil, the fists contract with a tremedous force and your very teeth find the enemy'' Roughly translated quote by Nikolai Gumilev that I kept in mind while designing it. Amazing writer

That is all I can remember at the moment. Hopefully it saciates everyone's curiosity and not ruin the magic and mystery. Thank you very much for your interest. I will see you soon, when it's time for the Seven Heavenly Virtues