Julianne Moore as “Famous Works of Art” by Peter Linderbergh - for Harper’s Bazaar

Seated Woman With Bent Knee by Egon Schiele, La Grande Odalisque by Ingres, Saint Praxidis by Vermeer, The Cripple by John Currin, Les danseuses by Edgar Degas, Madame X by John Singer, Girl with a Pearl Earring by Vermeer, Woman With a Fan by Modigliani, Man Crazy Nurse #3 by Richard Prince, Adele Bloch Bauer I by Gustav Klimt.

(vía shallowbeliever-)

typette:

I remember posting somewhere once in a thread about why girls aren’t exploited in animation anymore where some guy said, “all the disney girls are drawn to be generally attractive, but I don’t think there are any eye-candy men… or are there? Are there any Disney men that lots of girls like?” and I mentioned Roger. Tons of girls replied agreeing with me and the original guy was like “wait, Roger? from 101 Dalmatians? What’s attractive about him, he’s tall and lanky and has a big nose, he isn’t muscley at all! Wouldn’t you all prefer Gaston or something? Or do you girls think his big nose is indicative of something else?” and I was like “no, you idiot, he’s a silly, goofy guy who likes animals and can play a bunch of instruments, that’s why he’s attractive. What’s the matter with you? Gaston, seriously?”

This is why we need more girls in animation. And more guys like Roger apparently. 

Roger <3

(vía heyitsthatrandomchick)

"The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of inferno, are not inferno, then make them endure, give them space."

- Italo Calvino in Invisible Cities

artchipel:

Patricia March (Spain) - Lo sutil en lo invisible

Patricia March is a Spanish artist based in Valencia, for whom the time is something like water that erodes and destroys the form while new ones are building. Like the rain, time is cyclic. In March’s drawings, there is a double reading, one from left to right and the other from right to left. The characters seem dominated by water movement, while resurfacing. That’s how artist perceives the time, and she uses the paper polyester, which allows her to perform these washes and erosion.

[more Patricia March | artists found at foxmouth]

(vía mental-and-sentimental)

laced-up-and-spanked:

You’d think more people would understand the concept of ‘ongoing consent’…

(vía shallowbeliever-)

luke-pearson:

Thesis Hatement - Illustration for Slate.com

Jajajajaja!

(vía unocioso)

elsebas:

Gego (Gertrud Goldschmidt) - Reticulárea, 1969-1980s

(vía pajarostransparentes)

(vía tiffmnz)

"I carry your heart, my dear
(I carry it in my heart)
I’m never without it
(anywhere I go you go, my dear;
and whatever is done by only me
is you doing, my darling)
I fear no fate
(for you are my fate, my dear)"

- E.E. Cummings

jaymug:

COVER ART: Daft Punk ft. Pharrell Wiliams & Nile Rodgers - Get Lucky | Designed by HkCovers

aseaofquotes:

— Ray Bradbury

Pffffff…

(vía thesoulselects)

ianbrooks:

Derailing My Train of Thought by Thomas Wightman

Says Thomas about this project: “The final book sculpture of my major project series. Like the previous two sculptures it uses a visual metaphor to convey the emotions of obsessive-compulsive disorder, and embodies my research by visualising an expression used by a sufferer of OCD. The expression was ‘derailing my train of thought’, because the person felt that the rituals they had to perform were disrupting their day. Where the compulsions and worry would side track them from doing everyday activities.

 To convey this metaphor the sculpture shows a train travelling on a journey that has become disrupted, leading it to derail from its set path. Typography was used on the tracks for the title of the piece, also type was used for the coal. In the scene it shows the coal cart tipping over where the type has become mixed up to symbolise the mixed emotions during anxiety and panic”.

Artist: Behance / Website / Previously!

(vía fuckyeahbookarts)

"No existe casi ningún otro criterio de calidad, e incluso de verdad, porque todos se los traga ese único principio: la densidad del Sentido está allí por donde pasa el saber, donde el saber está en movimiento: todo el saber, sin excluir nada. La idea de que entender y saber signifique penetrar a fondo en lo que estudiamos, hasta alcanzar su esencia, es una hermosa idea que está muriendo: la sustituye la instintiva convicción de que la esencia de las cosas no es un punto, sino una trayectoria, de que no está escondida en el fondo, sino dispersa en la superficie, de que no reside en las cosas, sino que se disuelve por fuera de ellas, donde realmente comienzan, es decir, por todas partes. En un paisaje semejante, el gesto de conocer debe de ser algo parecido a surcar rápidamente por lo inteligible humano, reconstruyendo las trayectorias dispersas a las que llamamos ideas, o hechos, o personas. (…) Superficie en vez de profundidad, viajes en vez de inmersiones, juego en vez de sufrimiento. ¿Sabéis de dónde procede vuestro querido y viejo término buscar? Pues lleva en la panza el término griego, kípkoç , círculo: pensábamos en alguien que sigue dando vueltas en círculos porque ha perdido algo y quiere encontrarlo. Con la cabeza agachada, mirando una porción de suelo, con mucha paciencia y un círculo bajo sus pies que se hunde poco a poco."

- Alessandro Baricco, Los bárbaros: Ensayo sobre la mutación. (via lodistintoysudoble)