WHORECERESS

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[stevienick]

Katharine Hepburn and the leopard Bringing Up Baby (1938)

[catmota]

Zdzisław Beksiński  (1929 - 2005)

[artist-rubens]

Bathsheba at the Fountain, 1635, Peter Paul Rubens

[thunderstruck9]

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

[huariqueje]

Girl by the window    -   Aune Mikkonen, 1949

Finnish, 1922 - 2002

Etching , 19,5 x 13 cm.

[thedogist]

Paisley, Great Dane (4 y/o), Lafayette & Spring St., New York, NY • “She still sleeps 22 hours a day.”

[mentaltimetraveller]

Jenine Marsh, turned-out pocket (6), 2019, Gypsum cement, powdered pigment, flower bulb, train-pressed coins, 23 x 15 x 11 cm

[thunderstruck9]

Sheng Qi (Chinese, b. 1965), Execution, 2005. Acrylic on canvas, 120 x 80 cm.

[jadonulrich]

Dave Hardy Mountain, 2013 Polyurethane foam, glass, cement, paint, tape, pencil, pen, aluminum 85 × 59 1/10 × 27 3/5 in

[met-european-sculpture]

Music by Adolphe Rivet, Metropolitan Museum of Art: European Sculpture and Decorative Arts

Harris Brisbane Dick Fund, 1936 Metropolitan Museum of Art, New York, NY Medium: Bronze, struck, light brown patina

[artfoli]

Two versions of Love and Pain, often called Vampire due to the composition, from a series of six created between 1893-95, by Edvard Munch (1863-1944).

[stevie-nicks-daily-deactivated2]

Stevie photographed backstage during the ‘Rumours Tour’.

[artist-sargent]

The Fence, 1914, John Singer Sargent

Medium: watercolor

[nemfrog]

“Nearly all had one leg which was longer than the other, or a very long arm.”  The city curious. 1920. 

[whoiscamillepaglia]

The scene in [The Slave Ship (1840), by J. M. W. Turner] represents a real incident: when the captain of a slave ship discovered that his insurance only covered slaves lost at sea, and not those dying or ill on board, he ordered all dying and sick slaves to be thrown overboard. Turner’s painting captures the moment where the slaves are beginning to go under. In this painting, the horizon line, if distinguishable at all, is tilted, curved, and troubled. The observer has lost his stable position. There are no parallels that could converge at a single vanishing point. The sun, which is at the center of the composition, is multiplied in reflections. The observer is upset, displaced, beside himself at the sight of the slaves, who are not only sinking but have also had their bodies reduced to fragments—their limbs devoured by sharks, mere shapes below the water’s surface. At the sight of the effects of colonialism and slavery, linear perspective—the central viewpoint, the position of mastery, control, and subjecthood—is abandoned and starts tumbling and tilting, taking with it the idea of space and time as systematic constructions. The idea of a calculable and predictable future shows a murderous side through an insurance that prevents economic loss by inspiring cold-blooded murder. Space dissolves into mayhem on the unstable and treacherous surface of an unpredictable sea.

Hito Steyerl, “In Free Fall: A Thought Experiment on Vertical Perspective” (via whoiscamillepaglia)

[unknownwardrobee]

(via The-Women-Final-Scene.jpg (1860×1442))

[crystallineknowledge]

Stevie during a Fleetwood Mac concert in 1976. Photographed and shared by Bob Finucane | @FinucaneBob.