1 note
posted 28 minutes ago
derica:

"Women are constantly being killed by their husbands, lovers, brothers, and fathers—it’s reported every day, and in a way, the frequency of the reporting normalizes the murders. Terror and anger and helplessness come when I think of all that goes unreported, either because it’s not known to the media or because it isn’t quite murder yet. When I first started writing Mr. Fox I was interested in something that’s coded into the way these stories are reported: the ever-present potential for violence that seems to lurk within the love men have for women. Is it real? If so, how can we survive it? Can the violence be overcome once and for all, or is it something that dies down and has to be renegotiated every time it flares back up again?”
Helen Oyeyemi speaks about her 2011 novel Mr Fox with Megan O’Grady for Vogue | Ph: Saneesh Sukumaran

derica:

"Women are constantly being killed by their husbands, lovers, brothers, and fathers—it’s reported every day, and in a way, the frequency of the reporting normalizes the murders. Terror and anger and helplessness come when I think of all that goes unreported, either because it’s not known to the media or because it isn’t quite murder yet. When I first started writing Mr. Fox I was interested in something that’s coded into the way these stories are reported: the ever-present potential for violence that seems to lurk within the love men have for women. Is it real? If so, how can we survive it? Can the violence be overcome once and for all, or is it something that dies down and has to be renegotiated every time it flares back up again?”

Helen Oyeyemi speaks about her 2011 novel Mr Fox with Megan O’Grady for Vogue | Ph: Saneesh Sukumaran

585 notes
posted 32 minutes ago (® derica)
art-and-fury:

Liebespaar (Lovers) - Egon Schiele

(see others)

art-and-fury:

Liebespaar (Lovers) - Egon Schiele

(see others)

138 notes
posted 1 hour ago (® art-and-fury)

filmantidote:

Seeing the two women, [Vanda’s character Clotilde and real life-named Clotilde Montron], together in Pedro Costa’s Ossos is striking – the unkempt unwashed hair, the ungroomed eyebrows, the upper lip hair, lack of even natural cinematic makeup – help establish the elements of realism. Both are gender ambiguous to the typical spectator, illustrating the expectancy of gender performance for women in cinema, as well as the expectation of the operation of the gender binary (women are clearly demarcated as “feminine” cis females).  I would even say that Vanda’s challenging of this expectation is what makes her so “dangerous” [as Costa described her]. This refreshing imagery, coupled with the unapologetic look of confidence Duarte exudes when Clotilde and Tina dress for work as housemaids, reinforces why Duarte is so magnetic and fascinating to observe. The contrast of her more delicately-featured friend does nothing to deter her confidence, which makes the description “total lack of respect” further apply to gendered beauty standards. More than this, Vanda represents a woman often not seen in cinema: a woman unconcerned  with expected gender performance and appearance.

— Apexa M. - Vanda’s Resistance: Exploration of Vanda Duarte in Pedro Costa’s Fontainhas trilogy | FilmAntidote.com

336 notes
posted 1 hour ago (® filmantidote)
art-and-fury:

Wrapped in Sage - Malcolm T. Liepke

(previously)

art-and-fury:

Wrapped in Sage - Malcolm T. Liepke

(previously)

1,009 notes
posted 1 day ago (® art-and-fury)

Farewell to the Ark (1984) Dir. Shūji Terayama

40 notes
posted 1 day ago (® filmcat)
quadashian:

https://www.facebook.com/Quay.Dash
https://soundcloud.com/quay-dash
https://twitter.com/QuayDash
46 notes
posted 1 day ago (® quadashian)
4,884 notes
posted 2 days ago (® vandlo)

free-parking:

Paintings by Hilma af Klint (1862-1944)

Five years before Wassily Kandinsky (he of the book Concerning the Spiritual In Art, 1910), before Piet Mondrian and Kazimir Malevich, before the images of Carl Jung and Rudolf Steiner—who dismissed her ideas as wrong—was this revolutionary artist and abstractionist, Hilma af Klint, possibly the first purely abstract painter to produced non-objective works in the early 1900s.

Hilma af Klint was influenced by contemporary spiritual movements, such as spiritism, theosophy and, later, anthroposophy. Her oeuvre builds on the awareness of a spiritual dimension of consciousness, an aspect that was being marginalised in an increasingly materialistic world. When she painted, she believed that a higher consciousness was speaking through her. In her astonishing works she combines geometric shapes and symbols with ornamentation. Her multifaceted imagery strives to give insights into the different dimensions of existence, where microcosm and macrocosm reflect one another.
1,350 notes
posted 2 days ago (® free-parking)
boybluejunk:

boys
284 notes
posted 1 week ago (® boybluejunk)

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