In a galaxy far far away, Obi-Wan Kenobi gets blazed and shows off his stick, while an angry Anakin wants to go home and rethink his life. Music: Snoop Dogg - Smoke Weed Everyday
One Nice Bug Per Day
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official daine visual archive
art blog(derogatory)
PUT YOUR BEARD IN MY MOUTH
KIROKAZE

gracie abrams
"I'm Dorothy Gale from Kansas"
The Stonewall Inn

Product Placement

if i look back, i am lost
untitled
NASA
YOU ARE THE REASON
Cosimo Galluzzi
Color Me Curious
Claire Keane
todays bird

❣ Chile in a Photography ❣
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@gorillagirls
In a galaxy far far away, Obi-Wan Kenobi gets blazed and shows off his stick, while an angry Anakin wants to go home and rethink his life. Music: Snoop Dogg - Smoke Weed Everyday
“You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for you own pleasure.”
John Berger, “Ways of Seeing” (via thecourageofobscurity)
the normality project - what is normal?
dadaist collages by Hannah Höch, 1920s
Sheila Levrant de Bretteville, Pink, 1973
This poster was created for an exhibition held by the American Institute of Graphic Arts featuring color. The artist aimed to explore the gendered relationship of women and girls with the color pink.
Satirical comments on relationships, love and romance by Linder, Britain, late 1970s
Among the most memorable feminist statements to emerge from the Punk context in the late 1970s were the graphic collages of Manchester-based artist "Linder" (Linda Sterling). Her rebellion against the stereotypes and traditions of the time remains apparent throughout her series of collage-works, created by placing a pile of men's magazines (on cars, porn and so on) on one side of her desk, a pile of women's magazines (on fashion, the home, etc) on the other side, and then attempting to marry the two graphically.
Robert Doisneau, Sidelong Glance (1948)
"In the photograph a petit bourgeois couple stands in front of an art dealer's window and look in. The spectator is hidden voyeur-like inside the shop. The woman looks at a picture and seems about to comment on it to her husband. Unbeknownst to her, lie is fact looking elsewhere, at the proffered buttocks of a half-naked female figure in a painting placed obliquely to the surface/photo/window so the spectator can also see what he sees. Doane argues that it is his gaze which defines the problematic of the photograph and it erases that of the woman. She looks at nothing that has any meaning for the spectator. Spatially central, she is negated in the triangulation of looks between the main, the picture of the fetishized woman and the spectator, who is thus enthralled to a masculine viewing position. To get the joke, we must be complicit with his secret discovery of something better to look at.
The joke, like all dirty jokes, is at the woman's expense. She is contrasted iconographically to the naked woman. She is denied the picturing of her desire; what she looks at is blank for the spectator. She is denied being the object of desire because she is represented as a woman who actively looks rather than returning and confirming the gaze of the masculine spectator. Doane concludes that the photograph almost uncannily delineates the sexual politics of looking. I have introduced this example to make somewhat plainer what is at stake in considering the female spectator-the very possibility that texts made by women can produce different positions within this sexual politics of looking."
Modernity and the spaces of femininity, Griselda Pollock
Il guardare non è per le donne la stessa azione privilegiata che è per gli uomini. Più degli altri sensi, l'occhio oggettivizza e domina, crea le distanze e tiene le distanze. Nella nostra cultura il predominio dello sguardo sull'olfatto, sul gusto, sul tatto e sull'udito ha prodotto un impoverimento delle relazioni fra i corpi. E nel momento in cui lo sguardo prevale, il corpo perde la sua parte materiale.
Luce Irigaray, 1978
The Graphic Glass Ceiling - article by Michael Bierut on gender disparity in graphic design
http://designobserver.com/feature/the-graphic-glass-ceiling/5017
La persona che si scandalizza, il personaggio che si scandalizza è il personaggio che vede qualche cosa di diverso da se stesso e al tempo stesso di minaccioso per se stesso; cioè non soltanto è una cosa diversa, ma minaccia la propria persona, sia fisicamente, sia nel senso dell’immagine che questa persona si fa di se stesso. Lo scandalo, in fondo, è una paura di perdere la propria personalità, è una paura primitiva.
Alberto Moravia in Comizi d'amore di Pasolini (1963)
Kids react to gay marriage
Marion Fayolle
Kim Cowie, The Pro-feminist Press A free newspaper intended to explain the principles behind feminism and discuss why it is still relevant, making the concept of being a 'feminist' appealing to a wide, mainstream audience. The Pro-Feminist Press was designed to have a positive tone and an assertive rather than aggressive feel, encouraging readers to make their own decisions after seeing the facts and finally providing them with potential references and contacts. In order to communicate as clearly as possible I used a bold, graphic style and several minimalistic illustrations and infographics, with a consistent use of two colours across the publication.
Queer Love Manifesto - Coral Herrera Gómez
1. Queer Love is a process to enjoy, not a goal to be reached. 2. Queer Lovers deny the traditional love stories that sell promises of everlasting happiness, and want to finish with the exclusivity over cocks, pussies and hearts of the people. 3. Queer lovers reject the tyranny of the orgasm and expand to the entire body eroticism without being stuck in the genitals, enhancing the sensitivity of all parties, discovering new ways of sex beyond the genital pleasure. 4. Queer lovers do not desire eternity and we don’t fall in the trauma of divorce, because we enjoy the stories until they are finished. We feel happy to live them, because we don’t feel we have lost anything or anyone "forever." 5. Queer lovers reject the hell of forced cohabitation, and we don´t idealize people, we like people as they are. We don’t believe in the monogamous heterosexual reproductive model imposed on us by the cultural industries through the audiovisual stories. That is because queer lovers do not suffer frustration about romantic love; we love to enjoy life, sex and emotions with people of flesh and bone. 6. Queer Love advocates relationships based on freedom and the autonomy of the lovers. We try to break with the traditional division of gender roles and we don’t share the tasks by an unequal and unfair way. 7. Everyone has the right to live their performances of love created between two or more people to live a fictional illusion through the body and eroticism. We can also live virtual love, impossible or platonic loves, at the age we want and with whom we please. 8. The Queer love advocate a society where eroticism is free of emotional and physical repression, and where all the people can engage in freedom and the way they like. That's why every queer love is different, as there are so many people that don’t fits in the normal straight, homophobic, misogynist and oriented to reproduction model. 9. Queer lovers are people of the suburbs, but we do not exclude anyone. Queer movement includes men, women, intersex, transgender, transvestites, queers dykes, prostitutes, hustlers, blacks, Latin’s, heterosexual people… Because on queer fits all ages and socioeconomic classes, all tastes, all races and religions without any way of discrimination. 10. Queer Love is bisex, trisex and extends to infinity. It doesn´t categorize the traditional sexual orientation (gay, straight, bisexual), because it doesn´t understand the relationships as only "about two", so queer lovers don´t divide humanity into two opposite genders (women/men), because of the amount of degrees of intensity that postmodern identities have, and the amount of masks and theatric performances that we are able to perform on the same day. 11. Queer loves also include asexual people, single, promiscuous, addicted and no appetite people; freaks, rare people, minorities of any kind, or anyone who is curious to broaden horizons in their mind, emotions, body, and sexuality. 12. Queer Love does not exclude the sex of the mind, neither the feeling from sex. Queer relationships do not divide the population into people with whom they fuck or people they could love, because everyone is fuckable and loveable. Queer lovers assume our contradictions and do not distinguish between body and soul, mind and emotion, but live it as a whole, accepting and enriching the complexity of feelings and human desire. 13. Queer Love explores power relations taking them to the sex play, and liberates love from the binary categories Sumsion-domination. Queer relationships are intended to be equal because in a queer future, no one will be higher when the discriminatory ratings disappear. Sadomasoquism will be only a roleplay to enjoy sex. 14. Loves Queer reject the necessity as the base for a relationship, and denounce the mutual dependence (emotional and financial) that holds the patriarchal love system. It’s prettier to love from the free desire that being together because one have signed a formal contract. 15. Queer Love believes that Church, Treasury or the State mustn´t continue to have power over the private life of people, over our sexuality and feelings. Lovers do not need blessings, but freedom to come and go, love and share, without ties that turn commitments into prisons. 16. The queers do not discriminate anyone because of their height , or smallness, thinness, obesity, or their wrinkles, imperfections, its deformations… the queer love is freed from the tyranny of the beauty and the fascism cult of body . 17. Queer Love denounces the hypocrisy of bourgeois romanticism about female fidelity and male promiscuity, adultery and prostitution as a way to escape the boredom of marriage. 18. Sexual and affective relations must move away from selfishness intrinsic to the capitalist and democratic system, based on the desire to possess bodies and minds of others. People have to free ourselves of loyalty as a requirement to live an affair with someone. We have to stop consider the others as objects made for our enjoyment. 19. The queer loves are dynamic, alive, in constant movement. Our feelings are not subject to taboos, prohibitions, rigid rules, so is more free. The queer love is away from the lies and betrayal, of guilty and repression because they do not need them to relate to free people. 20. The queer loves do not need, either, love traditional structures. We are working to create new, open and flexible love structures, where people can spend more energy to enjoy and less to dream with impossible princesses and princes. The adventure of inventing new ways is exciting queer, because each one live their own affair in the way we want. Queer positive feelings get feedback themselves, do not die, because they aren`t concentrated, but spread and multiply. We don´t hate and we don´t destroy our love, because we are always regenerating, sharing, creating networks, combining chemicals, insatiably. Coral Herrera Gómez
Jeanne Dunning, Tongue (2004)
Proviamo stanchezza per una scena mediatica sempre più simile a un pranzo di famiglia, dove nessuno ascolta chi parla, perché per ciascuno esiste già la casella, il giudizio, l’etichetta, la frase fatta.
Monica Luongo, Letizia Paolozzi, Bia Sarasini e Alberto Leiss, donne e altri
http://www.archivio.donnealtri.it/voinoi.html