A Kiss In The Dreamhouse

[banishedfromcamelot]

Photo by Anna Winter

[gacougnol]

Ona Stoian

La Grande Odalisque - Self-portrait

[gacougnol]

Justina Tulaité

[thoughtsaboutgirls]

Marat Safin

[photo-dujenoir]

Jan Saudek

[thoughtsaboutgirls]

Emir Sevim

[photographyartgallery]

Tomohide Ikeya

[luisaterminiello]

Il troppo vero non è mai creduto

[ancoraunpianobi]

Barbara Sgavicchia

[gacougnol]

Xénia Fuentes

[joeinct]

Eva Jessye, Photo by Brian Lanker, c. 1989

[joeinct]

Gloria, Santa Marta, Colombia, Photo by Danny Lyon, 1972

[thiagonm]

Cindy Sherman, Untitled #115, 1982

[barbarabezina]

Fuj *purple

Digital photography printed on white paper + ink + ethanol + fire + scratches

[xfindingbeautyinnegativespacesx]

Self portrait. No AI

© Cami Lee Photography

[selfportraitsofcolor]

Anawana Haloba, b. 1978 Salt-lick performance Zambia (1999) [Source]

The Biennale de Lyon says:

Anawana Haloba’s artistic practice is based on permanent research into contemporary history, culture and ideologies. Her sound, video and installation performances often arise out of poetic texts that she has previously written. They set out to confront the viewer with subjects such as human trafficking, self-identity, or repressive systems in the neo-colonial structures that still govern most contemporary societies. In this way, Anawana Haloba plays on the positive connotation of the word “foreigner” in Swahili, where it implies, not an uncultured new arrival but a traveller – someone who has learned much, and has much to give.

[bluetapes]

Ah - Wei