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Double comb, sailors love token, Mid Century.
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Mehes Plus, 1989.
Scan
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“People have always been good at imagining the end of the world, which is much easier to picture than the strange sidelong paths of change in a world without end.”
— Rebecca Solnit, from “The Millennium Arrives: November 9, 1989″ in Hope in the Dark (Nation Books, 2004)
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Nightly Visitor by The Phantom Painter
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Clovis DIDIER
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don draper in 1962 killing himself inside to live up to a model of nuclear masculinity that will never be truly possible to actualise and that he can only define in contradistinction to his tragic abusive parental relationships backstory: landing american airlines as a client is worth forcing myself and my subordinates to work through palm sunday, further driving home the point that the very work which is supposed to sustain and provide for my family is in fact the thing keeping them all miserable and subservient to me and the forces of capitalist production whose interests i serve by laundering other people's desires because i don't know how to identify my own. roger these ads are going to blow your nips clean off.
fmovies. com in 2023 streaming the television show 'mad men' illicitly: [lowest effort fullscreen ad possible of a pair of heaving shiny shrink-wrapped anime boobies you can click on to go see a website that will deliver malware onto your laptop]
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How I sleep knowing I am not responsible for the version of me in people’s heads
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Source: instagram.com
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[ID: hopper painting nighthawks positioned on a white wall so the stripe of sunlight that falls on it aligns perfectly with the lines of light in the painting's diner. end ID]
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Mona Hatoum, Grater Divide, 2002 Mild steel, 204 cm x variable width and depth
Mona Hatoum is a Palestinian artist. From Artform’s 2021 Rape is a Border:
Take Grater Divide, 2002. The work is ridiculous: a standing metal cheese grater more than six feet high. Installed in a gallery, it works as a room divider, but the holes make privacy impossible. The wall is a weapon rather than a shield: A person undressing behind it could be cut as well as peeped at, opened up by sharp edges made for shredding. The work is not only an enlargement of a grater, however, but also a miniaturization of a divide, prototyping, in particular, the West Bank barrier Israel had begun to construct on appropriated Palestinian land. A person traveling through a border checkpoint may be asked to undress—strip searches are not prohibited by Israeli law. In the United States, they have been allowed ever since the 1985 Supreme Court case United States v. Rosa Elvira Montoya de Hernandez, which originated with the cavity search of Hernandez, who was traveling to Los Angeles from Colombia. In both countries, the coercive invasion of bodies is more likely to be visited on people of color, who are disproportionately singled out for selective or heightened “screening.” This word’s very meaning is reframed, or enlarged, by the Grater Divide. Gloria Anzaldúa, the queer Chicana theorist of Borderlands/La Frontera (1987), called the United States–Mexico border an “open wound” where “the Third World grates against the first and bleeds.” All borders are graters: not solid walls but permeable ones whose pores are sharpened to pierce what passes through.
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1963 Orange Crop frozen punch
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I need to lie back to front with someone who adores me
Jenny Holzer
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Jay DeFeo is best known for this monumental painting, entitled The Rose, which she started in 1958 and completed over the course of eight years. The piece consists of white and gray paints layered so thickly onto the canvas that, in some ares, the paints are almost eight inches thick. She used so much oil paint that she called it “a marriage between painting and sculpture.“
The Rose measures 7.5 x 11 feet and weighs 2,300 pounds,
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Henri-Jean Guillaume Martin - Sadness (1900)
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“Everyone You've Loved,” Susannah Irene