eucanthos

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https://giphy.com/samcannon

self-portrait?

Los GIF animados de Sam Cannon como expresión artística.

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Lee Friedlander (American, b. 1934, Aberdeen, WA, USA) - San Juan, Puerto Rico, 1979, from Letters from the People, Photography

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YOU CAN’T HAVE IT ALL

But you can have the fig tree and its fat leaves like clown hands gloved with green. You can have the touch of a single eleven-year-old finger on your cheek, waking you at one a.m. to say the hamster is back. You can have the purr of the cat and the soulful look of the black dog, the look that says, If I could I would bite every sorrow until it fled, and when it is August, you can have August and abundantly so. You can have love, though often it will be mysterious, like the white foam that bubbles up at the top of the bean pot over the red kidneys until you realize foam’s twin is blood. You can have the skin at the center between a man’s legs, so solid, so doll-like. You can have the life of the mind, glowing occasionally in priestly vestments, never admitting pettiness, never stooping to bribe the sullen guard who’ll tell you all roads narrow at the border. You can speak a foreign language, sometimes, and it can mean something. You can visit the marker on the grave where your father wept openly. You can’t bring back the dead, but you can have the words forgive and forget hold hands as if they meant to spend a lifetime together. And you can be grateful for makeup, the way it kisses your face, half spice, half amnesia, grateful for Mozart, his many notes racing one another towards joy, for towels sucking up the drops on your clean skin, and for deeper thirsts, for passion fruit, for saliva. You can have the dream, the dream of Egypt, the horses of Egypt and you riding in the hot sand. You can have your grandfather sitting on the side of your bed, at least for a while, you can have clouds and letters, the leaping of distances, and Indian food with yellow sauce like sunrise. You can’t count on grace to pick you out of a crowd but here is your friend to teach you how to high jump, how to throw yourself over the bar, backwards, until you learn about love, about sweet surrender, and here are periwinkles, buses that kneel, farms in the mind as real as Africa. And when adulthood fails you, you can still summon the memory of the black swan on the pond of your childhood, the rye bread with peanut butter and bananas your grandmother gave you while the rest of the family slept. There is the voice you can still summon at will, like your mother’s, it will always whisper, you can’t have it all, but there is this.

“You Can’t Have It All” by Barbara Ras, from her 1998 poetry collection Bite Every Sorrow

https://www.themarginalian.org/2019/02/07/you-cant-have-it-all-barbara-ras-emily-levine/?mc_cid=e441ceaa52

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Björk, 1994, by Stéphane Sednaoui – pop-life-my-life 12 h clocks

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George Maciunas (Lithuania, Kaunas, Nov 8, 1931 - 1978, Boston, US)

Untitled Screenprint in black and red on photo paper with safety pins thnx my-corrupted-pixels

Sulaitis - Fluxus the legacy of George Maciunas:

https://www.johnvalentino.com/Teaching/Art390/Projects/390Proj3/Maciunas/Maciunasobserved.html

https://www.mutualart.com/Artwork/Untitled/C1C0ADD2CE732936

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Arnulf Rainer (Austria, Dec 8, 1929)

Frühlingskreuz", 1990/91, drypoint etching on wove, 50 x 40 cm, sheet size 65 x 51 cm

Glutkreuz", 1999-2001, drypoint etching in colour on vellum, plate size 49.5 x 32.5 cm, sheet size 49.7 x 67.4 cm

Braun Kreuz", 1989/1990, drypoint etching in colour on BFK Rives, plate size 41.5 x 29.8 cm, sheet size 65.3 x 50 cm, (RAC)

https://www.dorotheum.com/de/l/8774990/

https://www.dorotheum.com/it/l/8356439/

https://www.dorotheum.com/en/l/7580231/

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East-West unanimity

Ingres: The Valpinçon Bather, 1808

Merete Rasmussen: Twisted-Blue, moebius strip sculpture

Venus Callipyge [Aphrodite Kallipygos] (beautiful buttocks) w/o Carlo Albacini’s 18th c. restored lost bust

bdsm tumblr find

Christopher Wool, ASSASSIN, Black Book, 1998

elemental traces no.15 ∈ 42 / anasyrma revisited

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Sofia Loren: 'anything you see, I owe to spaghetti', 1963 - reddit

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Franca Rame (Lombardy, Parabiago, 18 Jul 18, 1929 - 2013, Milan)

F. Rame wearing a pearl necklace, circa 1955. (Photo by Keystone Features/Hulton Archive/Getty Images)

Italian actress, playwright and militant leftwing politician, wife and professional partner of Dario Fo

In 1968, as the movement of dissent in Paris and the US spread to Italy, the pair abandoned the commercial theatre, preferring to form a new co-operative group that played to enthusiastic audiences of mainly workers and students...

In 1973 Rame was kidnapped and raped by fascists. Ten years later, she used the experience for a monologue, Lo Stupro (The Rape), which featured in a 1983 workshop she did at the Riverside Studios in London. She gave a surprise performance of the monologue on a popular family TV program.

Through the organisation Soccorso Rosso (Red Aid), Rame raised funds to help the families of political prisoners, who were being mistreated in Italian jails. She said in 1984: "I'm not defending prisoners because I think they're poor helpless beings who have been maltreated by an evil society. I just want to defend their right to dignified human treatment."

In the 90s, Jacopo (son) helped his parents adapt his book Zen and the Art of Fucking as a monologue for Rame, who called it "a comic lesson in love and sexual education". The title was changed to "Sex? Yes please, my pleasure" to appease eventual bigots who anyway tried unsuccessfully to stop its performances at the Milan Piccolo Teatro...

https://www.theguardian.com/stage/2013/may/29/franca-rame

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Arnulf Rainer (Austria, Dec 8, 1929)

Untitled, 1977 Indian ink on photo, 50 x 60.4 cm Exhibition Arnulf Rainer Körperkunst 22. August 2014 to 21. September 2014 Galerie Breckner, Altestadt 7, 40213 Düsseldorf

La Source + Araki association

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[Russian, lives in Italy]

https://www.instagram.com/nina.barnini/

Nina Barnini.

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Peter Beard (NY, Jan 22, 1938 - 2020, NY)

Elephant reaching for the last branch on a tree, June 1960 'End-Game' trip through Tsavo unique oversized gelatin silver print, with blood artwork and inscriptions, in original frame, printed 1997

hi res img courtesy Cristie's

https://www.christies.com/en/lot/lot-5670450

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Eric Stefanski (Chicago, 1987)

2024, enamel on fabric on canvas [artist's frame]

hi res: https://sunvalleyart.com/art/it-feels-good-to-be-alive-by-eric-stefanski

It feels good to be alive

Eric Stefanski

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Arena Homme + Anatomy of a Murder Spring/Summer 2011

https://models.com/work/arena-homme--anatomy-of-a-murder

Steven Klein

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Osamu Fujita (JP, Yokosuka, 1953)

story, 2008 Image size: 42×29.5cm Sheet size: 54×39.5cm Yokosuka Museum of Art, Tokyo Opera City Art Gallery, Machida International Print Museum, Collection

thnx sesiondemadrugada

https://gshirakawa.theshop.jp/items/36377785

http://fujitaosamu.com/fujitaosamu/Welcome.html

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Sébastien Coutheillas (FR, Paris, 1983)

Automatism and free-association to uncover a form of truth through the act of painting...

(34 x 27 cm)

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Charline von Heyl's tumblr procrastination

Asked by Ben Luke if she sometimes spends more time in the studio thinking about the painting she’s working on vs. doing something to it, she replied:

Yeah that’s basically all the time. I mean it’s just I’m probably like five hours or so —not much longer, actually my attention span is not the greatest in the studio—and of that time, the actual painting time will be maybe one hour or so. So most of the time is really looking. And it’s not just making a painting in my head; it really is also literally looking at images, you know, like opening the computer and just going through really weird old blogs, or there are fantastic painters’ Tumblr accounts which I love because it’s not about personality it’s just really about finding idiosyncratic choices. And so I just get stimulated by that, and then I will see this one weird little orange corner that triggers desire in me, and then I want to have something similar. It doesn’t have to be that orange corner, but it has to be something that renders me excited in the same way that that did. You’re like—and it might be a conventional move or it might be something bizarre doesn’t matter. But the time in the studio is really a time of visual manufacturing. The funny thing is because I am so much in this whole world of looking through images on the computer—Tumblr and all that stuff—and of course, I’m not on social media at all so I do what all those spies do: I drag the images on my desktop, and then I used to just put them into folders that have monthly dates and basically forget them and never look at them again.

https://greg.org/archive/2024/08/24/charline-von-heyl-is-reading-your-tumblr.html