April 14, 2014
Toyin Odutola, And you emerged, curved and new (2013-2014)

Toyin Odutola, And you emerged, curved and new (2013-2014)

April 14, 2014

At this point I feel like I’ve seen all the art that will ever exist. Which artists do you enjoy?

April 14, 2014
PostSecret

PostSecret

11:57am
  
Filed under: postsecret text 
April 14, 2014
Caravaggio, David with the head of Goliath (1606-1607)

Caravaggio, David with the head of Goliath (1606-1607)

April 14, 2014
Claire Milbrath. This has been making me giggle all day.

Claire Milbrath. This has been making me giggle all day.

11:29am
  
Filed under: Claire Milbrath drawing 
April 14, 2014
syntheticpubes:

by Prue Stent

syntheticpubes:

by Prue Stent

11:14am
  
Filed under: prue stent photography nsfw 
April 10, 2014
The Doppleganger

The Doppleganger

April 7, 2014
fette:

Top, screen capture from Dressed To Kill, directed Brian de Palma, 1980. Via. Bottom, photograph by Guy Tillim, Grande Hotel, Beira, Mozambique, 2008. Via. More.
—
The evening after she goes, you tell the story of the affair in a bar. At first you tell it as if it were possible to do so, then you give up. Then you tell it laughingly, as if it were impossible for it to have happened or possible for you to have invented it.The next day, suddenly, perhaps you’d notice her absence in the room. The next day, you’d perhaps feel a desire to see her there again, in the strangeness of your solitude, as a stranger herself.Perhaps you’d look for her outside your room, on the beaches, outside cafés, in the streets. But you wouldn’t be able to find her, because in the light of day you can’t recognize anyone. You wouldn’t recognize her. All you know of her is her sleeping body beneath her shut or half-shut eyes. The penetration of one body by another – that you can’t recognize, ever. You couldn’t ever.When you wept it was just over yourself and not because of the marvelous impossibility of reaching her through the difference that separates you.
Marguerite Duras, La Maladie de la mort [The Malady of Death] (trans. Barbara Bray), 1982. Via.

fette:

Top, screen capture from Dressed To Kill, directed Brian de Palma, 1980. Via. Bottom, photograph by Guy Tillim, Grande Hotel, Beira, Mozambique, 2008. Via. More.

The evening after she goes, you tell the story of the affair in a bar. At first you tell it as if it were possible to do so, then you give up. Then you tell it laughingly, as if it were impossible for it to have happened or possible for you to have invented it.
The next day, suddenly, perhaps you’d notice her absence in the room. The next day, you’d perhaps feel a desire to see her there again, in the strangeness of your solitude, as a stranger herself.
Perhaps you’d look for her outside your room, on the beaches, outside cafés, in the streets. But you wouldn’t be able to find her, because in the light of day you can’t recognize anyone. You wouldn’t recognize her. All you know of her is her sleeping body beneath her shut or half-shut eyes. The penetration of one body by another – that you can’t recognize, ever. You couldn’t ever.
When you wept it was just over yourself and not because of the marvelous impossibility of reaching her through the difference that separates you.

Marguerite Duras, La Maladie de la mort [The Malady of Death] (trans. Barbara Bray), 1982. Via.

April 7, 2014
Rikki Kasso

Rikki Kasso

April 5, 2014
Frederick Sandys, Proud Maisie (1893)

Frederick Sandys, Proud Maisie (1893)

(Source: likeapitcherofwater, via likeapitcherofwater)