Edwige Fouvry. Le Couple, 2012. Oil on wood, 150 x 150 cm.
“People know what they do; frequently they know why they do what they do; but what they don't know is what what they do does.” -Michel Foucault
Personal Work:
http://www.flickr.com/photos/sesains/
XVX. BMX. Artist. Atheist. Male. 24.
Milwaukee. • Ask me anything
• Submit How to Not Suck at Art
Personal Work:
http://www.flickr.com/photos/sesains/
XVX. BMX. Artist. Atheist. Male. 24.
Milwaukee. • Ask me anything
• Submit How to Not Suck at Art
PARKOUR
PORK-our? I know it’s a pig and pigs shouldn’t ever become pork, but come on, PUNS!
(via avocadh0e)
Vernon Fisher. Evidence of Houdini’s Return, 1994, Oil, blackboard slating, wood, mixed media on Board
How ‘Slut Shaming’ Has Been Written Into School Dress Codes Across The Country
Last month, a New Jersey middle school banned girls from wearing strapless dresses to prom. Administrators claimed that the dresses were “distracting” — though they refused to specify exactly how or why. Parents reacted strongly to the rule; some supported the dress code while others deemed it “slut-shaming.” On Friday, the school compromised by allowing […]
I was reading about flappers earlier and came to thinking about school dress codes and by luck someone posted this on the facess.
Hypocrites.
Meat eaters on facebook complaining about PETA slaughtering animals.
Maybe if I get a few MRAs and Republicans I will have a bingo.
Louise Bourgeois & Tracey Emin - Do Not Abandon Me, 2009-2010
Do Not Abandon Me is a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression.
This series originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: ‘I carried the images around the world with me from Australia to France, but I was too scared to touch them’. Emin overlaid Bourgeois’s forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body’s desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin’s handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois’s vibrant gouaches.
This suite of prints was one of the last projects Louise Bourgeois completed before her death. They were then printed at Dye-namix studio in New York with archival dyes on cloth in an edition of 18 sets with 6 artist proofs. The exhibition travels to Hauser & Wirth from Carolina Nitsch Project Room, New York, and is accompanied by a fully illustrated catalogue.
(via nearlya)
