Untitled by Antoine Caecke

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Keni
Claire Keane
RMH

祝日 / Permanent Vacation
Sade Olutola

#extradirty
will byers stan first human second
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Three Goblin Art

pixel skylines
Cosmic Funnies
sheepfilms
dirt enthusiast
Lint Roller? I Barely Know Her
NASA
Alisa U Zemlji Chuda
Game of Thrones Daily
Mike Driver
YOU ARE THE REASON
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@maet
Untitled by Antoine Caecke
i am never fucking u again. BYE
i don’t want to kill myself i just wish i was never born
eating spaghetti to forgetti my regretti
fags and booze and fags and booze and fags and booze
why do i always fix stuff for people i'm sleeping with. that is the second crotch i've sewn up. is that a normal thing to do for people ur fucking?
Top: Unknown model in Gustave Courbet’s L’origine du monde (1866) Bottom: Lina Romay in Jess Franco’s La noche de los sexos abiertos (1983)
We’re covering the story of Sophia Duleep Singh, exiled Indian princess who became a suffragette, in two parts. Today, we’re telling the stories of her grandfather, her father, and how she and her sisters came to be dependent upon Queen Victoria for their survival. On Wednesday, we’ll discuss the role she played in the movement for women’s suffrage in Britain.
Here’s a link to our notes and research.
Bamba, Catharine and Sophia Duleep Singh dressed for their formal debut
as an act of defiance against you making me feel even minutely perhaps unintentionally slut shamed i will not wear the t shirt that you gave me to sleep in
hello what am i doing
It’s been a year of intense growth.
dauvoire (via kushandwizdom)
yoooooo fuck do i move back to london or do i move to bristol what am i even doing
The Anarchist Feminist Poster Collective
The Anarchist Feminist Poster Collective (AFPC)-a collection of anarchists, feminists, separatists and budding artists-operated in Adelaide throughout the early 1980s.[i] One of their members, Ann Marie Morrissey, explains “We were much more amateur than our Sydney sisters as we were not trained artists but activists with a desire to write on walls!” [ii] Operating in conjunction with local women’s organisations the collective made posters advertising marches, women’s peace actions and dances; they voiced their opinions on the environment, sexual harassment and nuclear mining, combining bold text with simple illustrations.
Morrissey writes:
“It was an amazing time. Change was happening and we felt we were part of it. We often had lengthy discussions about ownership of copyright, as the screens and ink swished backward and forward . . . Megan [Schlunke], Sally [O'Wheel] and I often chewed over the tensions between having what is now called ‘creative commons’ and the fact that women artists’ often remained historically invisible, in which case, it would be a radical act to claim ownership of our work. As a result of these discussions we evolved very collaborative and fair ways of working together.” [iii]
She goes on to describe the way the group operated, with one member being designated as the ‘main designer’ on each project. In liaising with the commissioning organisation and collaborating with fellow AFPC members the resulting work was both an individual and collective effort.[iv] She writes:
“We always knew who 'authored’ each work although we had produced them collectively”.[v]
Alongside their postering the group was present in the activist and cultural landscape: attending rallies, fairs and events with their large anarchist flag and getting around town on environmentally conscious bicycles. It’s also rumoured they stole from the rich-in the form of shoplifting from major retail chains-and gave to the poor, tossing gifts of bricks through porn shop windows.
Lilith, by John Collier, 1892
Nelly Agassi - Bedroom, 2005
me
girlpool and baby teeth and fucking