textualviolence

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“Angel of Grief” by William Wetmore Story for the grave of his wife Emelyn Story.

Rome, 1894.

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"How To Be Anon" (Deluxe Paint IV + Frames from Hito Steyerl's "How Not to Be Seen: A Fucking Didactic Educational .MOV File)

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Thomas Theodor Heine, Angel (c. 1905)​​​

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Penda's Fen (Alan Clarke, 1974)

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Blood Tea and Red String (2006)

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Fifteenth century tarot cards, possibly the oldest known deck. Look how beautiful they are! These are from way back before they were used for cartomancy.

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from the Moral Minority editorial- MASSES magazine f/w 2015, shot by CG Watkins

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Designated Weeping Area, a community art project from Cora Lee (coraleecreates, 2021)

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If you see two men standing within 10 meters of one another you can safely assume they've sucked and fucked two or three times, as a conservative estimate.

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Gemma Ward for Vogue Italia, September 2005 by Mario Sorrenti

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Seahorse pendant, the pouch is baroque pearl. After a lovely courtship ceremony, females deposit eggs to male seahorses’ pouches and males carry the eggs and give birth.

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Philipp Igumnov, Cloudhouse, Photo collage

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Japanese magazine  “薔薇族 / Barazoku” 2001(平成13年) covers by 甲秀樹 / Hideki Koh

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Japanese magazine “薔薇族 / Barazoku” 2002(平成14年) covers by 甲秀樹 / Hideki Koh

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PART I - PART II - PART III - PART IV

— Morgiana (1972) The Bad and the Beautiful (1952) Daughters of Darkness (1971) London Fields (2018) Salon Kitty (1976) Corridor of Mirrors (1948) Spencer (2021) Jackie (2016) League of Extraordinary Gentlemen (2003) The Artist (2011)

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Jeanne Mammen (German, 1890-1976), Goldfischfang im Großstadtdschungel (Goldfish in the big city jungle), 1925.

Jeanne Mammen, watercolorist, painter, printmaker. Raised in Paris. Studied art in Paris, Brussels, and Rome from 1906 until 1911. As a German citizen, was forced to flee France with her family at outbreak of World War I; lost all possessions. Impoverished, settled in Berlin in 1916, where she eventually earned a living making illustrations for fashion magazines and posters for Universum-Film AG (UFA), the film distributor.

After 1924 frequently published drawings and watercolors in major satirical periodicals such as Ulk and Simplicissimus, for which she chronicled the experiences of Berlin’s crop-haired, self-reliant “new women” at work and leisure - experiences that mirrored her own. Often showed them in cramped, distorted spaces, some rendered in lurid tones reminiscent of Henri de Toulouse-Lautrec and others in brilliant, orphic colors of the prewar Parisian avant-garde. Enjoyed growing commercial and critical success; in 1930 had first solo exhibition at Galerie Gurlitt in Berlin. At publisher Wolfgang Gurlitt’s behest, made lithographs illustrating a book of erotic Sapphic poetry, Les Chansons de Bilitis, in 1931–1932, which was banned by the Nazis.

Under Nazi dictatorship, remained in Germany but lived in a state of “inner emigration”; refused to exhibit or publish. Turned increasingly to painting in Cubist and Expressionist styles out of solidarity with artists who Nazis defamed as degenerate.