I am obsessed with this face.
Support MARRIAGE EQUALITY with a Rothko
Mark Rothko. Mauve and Orange. 1961. Oil on canvas.
Madonna and Basquiat in the early 80s
I won’t say I am fan of either of them (especially not Madonna recently*), but this photo got me.
* from after the Ray of Flight album more precisely.
From left to right: Wassily Kandinsky, Nina Kandynsky, Georg Muche, Paul Klee, Walter Gropius. 1926
found on tumblr
Harmony Korine’s Spring Breakers
“A hypercolored ecstasy trip through the teenage psyche” with a mixture of influences from Enter the Void and Natural Born Killers.
A friend told me his reading of the film and I can totally agree: what’s happening from the robbery scene on, is just the imagination of the two girls, who by the end of the film will kill every bad guy and survive a completely surrealistic gunfire scene. Like they were in a movie - as they say several times. We are traveling around these girls’ imagination, their desires, having “a trip through their teenage psyche”.
However, distributors should have been more careful not to screen this movie in multiplex theaters, misleading and confusing mainstream audiences.This was the first time ever I watched a film with an audience explicitly and unanimously being outraged and disgusted. Weird.
Nevertheless, I like the movie more an more with every hours passed since I watched it. That’s how it is.
Oh yes, and google Riff Raff and the Atlanta Twins.Sick people :D
Réti István: Cigánylány, 1912.
„[…] minél hosszabban nézzük e lányalakot, annál inkább Nabokov Lolitáját véljük látni benne, mintsem egy fiatal nőt. S a kép címe is ebbe az irányba vonzza az értelemadást. A kamaszlány szemében a domináns – mondhatni pedofil – férfitekintet tükröződik vissza. Erotika helyett szégyen és félelem, szexuális kiszolgáltatottság. Társadalmi normákat ily keresetlenül nyilvánvalóan csak az elnyomott etnikai vagy szociális csoportokkal szemben lehetett áthágni […]”
Édouard Manet: Olympia
Unlike other artists, Manet did not depict Olympia as a goddess or an odalisque but a high-class prostitute waiting for a client.
The painting also deviates from the academic canon in its style, characterized by broad, quick brushstrokes, studio lighting that eliminates mid-tones, large color surfaces and shallow depth. Instead of a smooth idealised nude, Manet painted a woman whose nakedness is starkly emphasized by the harsh light.
The model, Victorine Meurent, became an accomplished painter in her own right.