[polkadotmotmot]

Julian Stanczak

[mauveflwrs]

Yayoi Kusama  The Sea in the Evening Glow (Facing the Imminent Death) 1988

[goingline]

Daiva Kaireviciute

[deathandmysticism]

Jacopo Ligozzi, Vanitas, early 17th century

[aqua-regia009]

Il verbo (2018) - Agostino Arrivabene

[inneroptics]

Ingrid Bugge

[20aliens-deactivated20200625]

Vita Sackville-West over Virginia Woolf Melora Kuhn

[thunderstruck9]

Xu Zhen (Chinese, b. 1977), Under Heaven - 2632JP1403, 2014. Oil on canvas, dibond, 112 x 151 x 5 cm.

[poison-ivy-on-drugs]

[nobrashfestivity]

Gunta Stölzl, Red-Green Slit Tapestry, 1927-28

[treetopk]

[thunderstruck9]

Karoliina Hellberg (Finnish, b. 1987), BB, 2016. Acrylic on canvas, 247 x 200 cm.

via treetopk

[81898]

shot by steven klein

[thunderstruck9]

Vladimir Veličković (Serbian, 1935-2019), Exit Fig. XVII, 1982-83. Oil on canvas, 198 x 146 cm.

[thunderstruck9]

Vladimir Veličković (Serbian, 1935-2019), Composition, 13 March 1968. Pen and ink, 108.5 x 72.5 cm.

[flyse]

Still Life with Candlestick, Pieter van Roestraten (Dutch, 1630–1700), between 1660 and 1685

Oil on canvas

[salemwitchtrials-deactivated202]

“One of the healthiest things about me—my capacity to “take it,” to survive, to bounce back, to do, to prosper—is intimately connected with my biggest neurotic liability: my facility in disconnecting from my feelings.”

— As Consciousness Is Harnessed to Flesh: Journals and Notebooks, 1964-1980, Susan Sontag

[ochyming-deactivated20220410]

[thunderstruck9]

Bruce Onobrakpeya (Nigerian, b. 1932), Obaro Isheshi Rovue Esiri The front of the church of Good News. Plastocast, 125 x 93 cm.

via ochyming