Comments
Photo
8 months ago

Loading...


Photo
8 months ago
Cute
Hands
Love

(Source: homotography, via uncleseedy)

Loading...


Post
9 months ago

C

Loading...


Photo
10 months ago
homographias:

David Lynch by Nadav Kander

homographias:

David Lynch by Nadav Kander

Loading...


Photo
11 months ago

Marina Abramovic, Rhythm 0 (1974) “What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”
To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.
Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Marina Abramovic, Rhythm 0 (1974)

“What I learned was that… if you leave it up to the audience, they can kill you.” … “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

(Source: velved)

Loading...


Photo
11 months ago
dadoranonimo:



Stanley Kubrick, Portugal, 1948

dadoranonimo:

Stanley Kubrick, Portugal, 1948

(Source: arsvitaest)

Loading...


Photo
11 months ago
Javier Bardem
Javier Bardem by Inez van Lamsweerde and Vinoodh Matadin

Javier Bardem by Inez van Lamsweerde and Vinoodh Matadin

Loading...


Photo
11 months ago
Self-Portrait in Drag (1981) by Andy Warhol

Self-Portrait in Drag (1981) by Andy Warhol


Loading...


Quote
11 months ago
Death in Venice

Loading...


Photo
11 months ago
John Luke Smalley

Loading...


Photo
11 months ago
Ryan Mcginley
Kate Moss by Ryan McGinley

Kate Moss by Ryan McGinley

Loading...


Photo
11 months ago
Paul Newman
Paul Newman by ?

Paul Newman by ?

Loading...


Photo
11 months ago



Robert Mapplethorpe, Untitled (invitation to Light Gallery opening), 1973. Embossed gelatin silver print with adhesive dot and Polaroid film sleeve, 4 1/8 x 5 1/5

Robert Mapplethorpe, Untitled (invitation to Light Gallery opening), 1973. Embossed gelatin silver print with adhesive dot and Polaroid film sleeve, 4 1/8 x 5 1/5

(via cruiseorbecruised)

Loading...


Photo
11 months ago
The are many moments to love in “L’Amour Fou,” the new documentary about Yves Saint Laurent and Pierre Bergé, including every time that Betty Catroux opens her mouth and Bergé’s poetic recollections of his life with Saint Laurent, a 52-year relationship that he refers to as “une grande histoire d’amour.” Directed by Pierre Thoretton, the film also features rare archival footage, not the least of which is this hilarious video interview in which an uncharacteristically unguarded (and frisky) Saint Laurent takes a Proust questionnaire.

The are many moments to love in “L’Amour Fou,” the new documentary about Yves Saint Laurent and Pierre Bergé, including every time that Betty Catroux opens her mouth and Bergé’s poetic recollections of his life with Saint Laurent, a 52-year relationship that he refers to as “une grande histoire d’amour.” Directed by Pierre Thoretton, the film also features rare archival footage, not the least of which is this hilarious video interview in which an uncharacteristically unguarded (and frisky) Saint Laurent takes a Proust questionnaire.

(Source: ataleofafewcities)

Loading...


Photo
11 months ago
AAAAAaaaaaa…….

AAAAAaaaaaa…….

Loading...