thin ice

vivviangirl (@) yahoo . com

[myew]

[rosehyps-blog]

[nevver]

New York, New York, New York, New York

[cruiseorbecruised-deactivated20]

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cruiseorbecruised:

Ray Johnson James Dean (Lucky Strike), 1957

Tempera, encre et collage sur photographie 30 x 24 cm

[sashafrerejones-deactivated2013]

Click photo for the realness.

[thinice]

YES

[cavetocanvas]

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cavetocanvas:

1948 - Clyfford Still, 1948

From the Guggenheim:

Clyfford Still had begun working in the format that he would intensify and refine throughout the rest of his career—a large-scale color field crudely applied with palette knives. Still liberated color from illusionary design by allowing large, uninterrupted tonal areas to interlock on a flat plane. He dispensed with typically “beautiful” colors in favor of more disquieting hues to create unsettling impressions. In 1948, visceral smears of brown, mustard, and dark crimson impasto seem to spread beyond the canvas. The painting’s soaring scale and the energy of the roughly painted crags suggest the boundlessness the artist revered. The patches of earth tones in many canvases, including 1948, have been interpreted as organic shapes: parched riverbeds, frozen wastelands, swamps, and even flayed skin. Wishing to avoid the possibility of such associations, Still left his paintings untitled, or identified them simply by the year of their creation. Evocative titles, in the artist’s opinion, might influence the viewer’s experience as they contemplate the palpable tension and sense of the infinite that can be found within the canvas.

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cavetocanvas:

1948-C - Clyfford Still, 1948

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cavetocanvas:

1950-A No. 2 - Clyfford Still, 1950

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cavetocanvas:

1956-D - Clyfford Still, 1956

[cavetocanvas]

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cavetocanvas:

Untitled - Clyfford Still, 1956

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cavetocanvas:

Untitled - Clyfford Still, 1957

[ithoughtuthought-deactivated201]

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It is SICK how many of these outfits I would wear.

[cavetocanvas]

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cavetocanvas:

Untitled - Clyfford Still, 1962

Forever and always. The first major artist whose work I'd acquire if I had the $$$ (and if anyone ever sold his work, which is like, never)

[newherringpress-blog]

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saramarcus:

This is the press that Jess Arndt, Sara Jaffe, Jason Daniel Schwartz, and I do! Please come to our party.

newherringpress:

THE RUN IS IN!

NEW HERRING RELEASE PARTY!

Nov. 13th, 4-6 PM (early!)

at The Drink 228 Manhattan Ave. in Williamsburg, Brooklyn (between Maujer St & Grand St, L to Graham) Readings by Lynne Tillman and by NHP friends Nitsuh Abebe, Amanda Davidson, Frances Richard and Parul Sehgal plus very special guests…

Also: Punch bowls! Chapbooks for sale! Piano-based revelry!

Come wassail with us! We are tickled pink!

(And a HUGE thank you for all of your support!)

xxNHPxx

This is happening at my bar on Sunday. I'm super excited about it, and the authors they have lined up to do some readings. Please come by.

[redvelvetteacake]

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redvelvetteacake:

I have always been astonished at the ease with which Polanski could create the feeling of paranoia. There is no specific way to effectively represent paranoia on-screen. It is a very private and quiet emotion. It is not something that is usually shared with an audience. It is not achieved with startling or shocking moments. It is something that requires several subtle layers of detail and restraint. Repulsion may be the most perfect example. 

One Scene: Repulsion by Ti West

Hey Helen, remember when we watched this and couldn't sleep for a week?

[badlands]

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badlands:

The Honeymoon Killers (1970)

[fearandwar]

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kateoplis:

Damn straight.