[cocteautwinsgirl]

[nobrashfestivity]

Georgia O'Keeffe, Dark Abstraction, 1924

[whoknowswherethetimegoes]

James Dean on the set of Giant, the last movie he filmed, 1955.

[elvisqueso]

These critics with the illusions they’ve created about artists – it’s like idol worship. Like those little kids in Liverpool who only liked us when we were in Liverpool – a lot of them dropped us because we got big in Manchester, right? They thought we’d sold out. Then the English got upset because we got big in . . . what the hell is it? They only like people when they’re on the way up, and when they’re up there, they’ve got nothing else to do but shit on them. I cannot be on the way up again. What they want is dead heroes, like Sid Vicious and James Dean. I’m not interested in being a dead fucking hero. . . . So forget ’em, forget ’em.

— John Lennon: The Last Interview, Rolling Stone December 5th, 1980

[apoemaday]

Ash

by Tracy K. Smith

Strange house we must keep and fill. House that eats and pleads and kills. House on legs. House on fire. House infested With desire. Haunted house. Lonely house. House of trick and suck and shrug. Give-it-to-me house. I-need-you-baby house. House whose rooms are pooled with blood. House with hands. House of guilt. House That other houses built. House of lies And pride and bone. House afraid to be alone. House like an engine that churns and stalls. House with skin and hair for walls. House the seasons singe and douse. House that believes it is not a house.

[coltre]

italian lovers enjoying the summer breeze, 2018 south italy

[nobrashfestivity]

Ansel Adams, Sundown, The Pacific, 1946

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[himneska]

Fotogrammi. Bridget Hall photographed by Michel Comte for Vogue Italia, November 1998.

[godsopenwound]

Eroticism is, first of all, the most moving of realities; but it is nonetheless, at the same time, the most ignoble. Even after psychoanalysis, the contradictory aspects of eroticism appear in some way innumerable; their profundity is religious—it is horrible, it is tragic, it is still inadmissible. Probably all the more so since it is divine.

— Georges Bataille, The Tears of Eros

[lavender-tome-collector]

SADE (British-Nigerian b. 1959) New York City, May 1981 

[rrondo]

[vintageeveryday]

In 1992, Hiroyuki Sanada and Laure Marsac were photographed by renowned Japanese photographer Lyu Hanabusa, capturing a moment in the early stages of both actors’ international recognition. The artistic shots originally debuted in the 1992 pictorial book “a man,” which was later expanded and re-released in 2000 under the title “L'Homme.” This was not a real-life relationship, but a highly stylized, cross-cultural editorial photoshoot. It captures the duo sharing intimate, cinematic moments across Parisian streets, cafes, and indoor settings.

Hiroyuki Sanada, born in 1960 in Tokyo, had already established a formidable reputation in Japan as a versatile actor, adept in both traditional samurai roles and contemporary cinema. By the early 1990s, he was expanding his work into international productions, bridging the gap between Japanese cinema and global audiences. Laure Marsac, born in 1970 in Paris, France, had similarly begun making a name for herself in European cinema, noted for her performances in French films that showcased her ability to portray complex emotional depth.

See more here...

[thirdity]

“Whoever uses the spirit that is in him creatively is an artist. To make living itself an art, that is the goal.”

— Henry Miller, Big Sur and the Oranges of Hieronymus Bosch

[nobrashfestivity]

Vincent van Gogh Enclosed Field behind Saint-Paul Hospital, Rising Sun, 1889 black chalk, pen & ink 47 x 62 cm

[joeinct]

Ollie McLaughlin, Hotel Viking, Newport Jazz Festival, Rhode Island, Photo by Lisette Model, 1956

[julia-wanders]

National Geographic’s Travelling the Trans-Canada, 1987

[colonellickburger]

Dennis Stock. James Dean With the Cows on His Uncle's Farm, Fairmount, Indiana 1955