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Veronika von Volkova is up to an assortment of things.

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Feb
23rd
Tue
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Feb
22nd
Mon
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I am in love with Dresden Codak.

The delicious archives are generously available for you to linger through.

You can buy prints of the comics here.

(Dresden Codak ©2005-2010 Aaron Diaz)

Feb
21st
Sun
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I’m a huge fan of Clayton Cubitt’s work in general, but I most adore the images of KT. She is always brilliantly gorgeous, and it is just so pleasurable to be permitted a glance through the viewpoint of someone who is completely enamoured.
claytoncubitt:

KT in the snow storm, Tribeca, NYC

I’m a huge fan of Clayton Cubitt’s work in general, but I most adore the images of KT. She is always brilliantly gorgeous, and it is just so pleasurable to be permitted a glance through the viewpoint of someone who is completely enamoured.

claytoncubitt:

KT in the snow storm, Tribeca, NYC

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claytoncubitt:

Nick Knight, Alexander McQueen, ‘Angel’ 2000, music by Bjork

“The concept is quintessential Knight/McQueen. Create the face of an angel and place it, pride of place, in a church in the southern French town of Avignon. Nothing much new about that, you might think, except that instead of using stained glass or any other such obvious and/or widely deemed appropriate materials, the pair constructed the piece entirely out of dyed maggots - 80 gallons of dyed maggots, to be precise. It’s a frankly horrifying thought, which is, of course, the point. The designer and photographer have by now collaborated on more than one idea that subverts our preconceptions of what is and isn’t beautiful. Ideas that, on the face of it, may rile the more politically correct among us and appear to be no more than sensational, once executed seem rather more tender, lovely - moving even - than had been expected.” -Of Maggots and Madonnas, Susannah Frankel

Showstudio project page with text and behind the scenes

Feb
19th
Fri
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sexartandpolitics:

bonesarecoralmade:

Margaret Bowland, Olympia Series #7 (Queering/Re-envisioning Manet’s Olympia)
“We inhabit a purely relative world, in terms of belief structures, yet each of us knows and in a sense, believes in, the need to be beautiful. My work is about beauty—what it means to be beautiful and what significance the idea has in the twenty-first century in the world of art. We all know that being beautiful is as important as being rich, that being beautiful is itself a form of wealth. One must be tall, thin and white. One’s features must be diminutive and regular. We recognize deviations from this norm, but recognize that these deviations, even if appealing, are far from ideal. The need to be beautiful fuels one of the largest and most ruthless industries in our world.
Beauty makes sense to me, has weight for me, only when it falls from grace. It starts to matter when it carries damage. Sorrow allows it to cast a shadow. It becomes three-dimensional. It enters our world.
Looking at Manet’s Olympia, I wondered about the two women depicted—the young, naked prostitute and the black maid servant—about the relationship between them and to the man observing them. His implied presence began to unite them to me, not as lovers, but as the prey sharing a foxhole. In my imagination, the women of my paintings entered that room. What my century brings to the ideas of race and beauty and sexual allure began to overlay Manet’s.
via thegang

sexartandpolitics:

bonesarecoralmade:

Margaret Bowland, Olympia Series #7 (Queering/Re-envisioning Manet’s Olympia)

“We inhabit a purely relative world, in terms of belief structures, yet each of us knows and in a sense, believes in, the need to be beautiful. My work is about beauty—what it means to be beautiful and what significance the idea has in the twenty-first century in the world of art. We all know that being beautiful is as important as being rich, that being beautiful is itself a form of wealth. One must be tall, thin and white. One’s features must be diminutive and regular. We recognize deviations from this norm, but recognize that these deviations, even if appealing, are far from ideal. The need to be beautiful fuels one of the largest and most ruthless industries in our world.

Beauty makes sense to me, has weight for me, only when it falls from grace. It starts to matter when it carries damage. Sorrow allows it to cast a shadow. It becomes three-dimensional. It enters our world.

Looking at Manet’s Olympia, I wondered about the two women depicted—the young, naked prostitute and the black maid servant—about the relationship between them and to the man observing them. His implied presence began to unite them to me, not as lovers, but as the prey sharing a foxhole. In my imagination, the women of my paintings entered that room. What my century brings to the ideas of race and beauty and sexual allure began to overlay Manet’s.

via thegang

Feb
18th
Thu
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debauchette:

Wolfgang Zajc

debauchette:

Wolfgang Zajc

Feb
17th
Wed
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© Veronika von Volkova

© Veronika von Volkova

Feb
16th
Tue
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Happy Birthday, Warren Ellis.
Thanks for creating spaces that have let me meet some amazing people.I hope your day is lovely.
XO
V
© Veronika von Volkova

Happy Birthday, Warren Ellis.

Thanks for creating spaces that have let me meet some amazing people.
I hope your day is lovely.

XO

V

© Veronika von Volkova

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© Veronika von Volkova

© Veronika von Volkova