Ease, technology, art, and fun come together in the living room. The industrial-style shelves are colorfully balanced by a papier-mache rocking horse, a Moroccan rug, and a mixed-media composition of rice paper, photographs, and tempera.
Rooms by Design, 1989
I’m getting more ambitious with my plant witch gifs!
Thinking about how my mom tried to “seduce” my dad when they were in college together by sneaking oranges into his backpack, because she grew up food insecure and feeding someone/sharing food was a big deal with her upbringing with a lot of emotional meaning–
and meanwhile my poor dad is just convinced that he’s been haunted by some citrus poltergeist because why the fuck are there always oranges in his bag he swears he did not put there???
watched this for the first time when i was 14 i think? it saved me
“For most of history anonymous was a woman”- Virginia Woolf
Anonymous no more
1. Clarice Lispector | 2. Egon Schiele | 3. Dylan Thomas | 4. Joseph Lorusso | 5. Jenny Slate | 6. Ron Hicks | 7. Mary Oliver | 8. Safet Zec | 9. Madeline Miller | 10. Antonio Piatti | 11. Ocean Vuong | 12. Peter Wever | 13. Richard Siken
Mark Rothko, The Dark Paintings of 1969-1970,
Part One
The Black on Gray paintings were Rothko’s final series. Like the Brown and Gray works on paper, color has been extracted to a dark upper and a lighter lower section. Most striking is the painted white edge within which the composition is circumscribed. In all of Rothko’s earlier work the edges of his paintings folding around the stretcher had been meticulously painted. In marked contrast, the white surround of the Black on Gray paintings sharply demarcates the painted surface and collapses the pictorial space into a much flatter picture plane.
Previously, Rothko had used a mixture of rabbitskin glue and pigment to douse his canvases in a first layer of colour. The Black on Gray paintings, however, were primed with white gesso which shows through in various areas, further contravening any illusion of pictorial depth. Unlike the Brown and Grays, where the variations occur within a fixed format, the Black on Gray paintings substantially vary in size and orientation, each offering a completely unique exploration of scale and ‘weight’.
The Black on Gray paintings bear witness to the tireless effort with which Rothko kept pushing the boundaries of his practice; which may also explain why one evening in late 1969 he opened his studio to select members of the New York art world to view his latest paintings, the first and only time he presented a series as such.
Fleabag (2016 - 2019) / beetlejuices / “friend of mine”, krishnokoli / honeybee, trista mateer / honeytuesday / motion sickness, phoebe bridgers / chungking express (1994) / hope ur ok, olivia rodrigo / Ocean Vuong, from On Earth We’re Briefly Gorgeous / by langston hughes
Yi Yi , Edward Yang , 2000.