Milk'n Honey

[tightlycoiled]

[neshamama]

ana mendieta

[putlestory]

[putlestory]

[putlestory]

[neshamama]

ben shahn, “i never dared to dream,” 1960

[outeyelashes]

Dorothea Tanning, Fantasy Figure, 1949

[vintagecongo]

Académie des Beaux-Arts, Kinshasa, Congo 1970 by  Eliot Elisofon

[bookoffixedstars]

Mildutė Žilinskaitė (Lithuanian, b.1983) - Shrovetide masks, linocut, 1992.

source

[amare-habeo]

Marie Vassilieff (Russian, 1884-1957)

Miraculous Virgin, N/D

Mixed media and collage on cardboard, 31 x 24 cm

[hideback]

Voynich Manuscript

Weird plants that never existed; nude women frolicking through intestinal shapes; mandala-ish diagrams of spirals and stars; words in an indecipherable code: nobody knows what the deal is with this thing. Maybe made in Italy in the 15th Century. Maybe it’s a real language that nobody has ever spoken. Maybe not.

Currently stored in one of my favorite buildings: Beinecke Library

[kinobalkan-blog]

Skupljači Perja dir. Aleksandar Petrović (1967)

[calling-out-of-context]

Maternity (Marc Chagall, 1912)

[house-of-romanov]

Simone Weil (centre, with spectacles) with a group of students

[neshamama]

🌷frag ment 🌸

[thee-efflux]

Anselm Kiefer, Winter Landscape, 1970.

Currently reading Lisa Saltzman’s Anselm Kiefer and Art After Auschwitz. Though I don’t agree with a large portion of her theory, her analysis of this early watercolor made me do a lot of thinking. Is this the ashen-haired Sulamith of Celan’s “Todesfuge”, in her spacious grave above the clouds after symbolically dying in the Holocaust? Or, as Saltzman suggests, is it a self-portrait of Kiefer and his working through his death of identity as a German artist born in 1945? Saltzman argues that this watercolor is both melancholic and a symptom of Kiefer’s own melancholia, his inability to mourn the Holocaust, instead inertly dwelling in his own loss.

[st-pam]

Heksenkring x Haunted House Spooky Autumnal drawings, prints available in my Etsy shop Pencil, 2018