Tombstone, Arnold Böcklin
Nan, One Month After Being Battered, 1984
by Nan Goldin (via cavetocanvas)
Lived to see you throwing
Me aside. That fought
Like netted fish inside me. Saw you throbbing
In my syrups. Saw you sleep. And lived to see
That all that all flushed down
The refuse. Done?
It lives in me.
You live in me. Malignant.
Love, you ever want me, don’t.
Anais Mali channels Elizabeth Taylor for Mario Testino in V 73′s Fall 2011 issue
‘Will you marry me?’ (c. 1998) illustration from Rose Daughter (a retelling of the tale of Beauty and the Beast) by Robin Mckinley, and illustrated by Anne Bachelier
You can’t get out of this one, Henry, you can’t get it out of me, and with this bullet
lodged in my chest, covered with your name, I will turn myself into a gun, because
it’s all I have,
because I’m hungry and hollow and just want something to call my own. I’ll be your
slaughterhouse, your killing floor, your morgue and final resting, walking around with this
bullet inside me
‘cause I couldn’t make you love me and I’m tired of pulling your teeth. Don’t you see, it’s like
I’ve swallowed your house keys, and it feels so natural, like the bullet was already there,
like it’s been waiting inside me the whole time.
Do you want it? Do you want anything I have? Will you throw me to the ground
like you mean it, reach inside and wrestle it out with your bare hands?
If you love me, Henry, you don’t love me in a way I understand.
City Gate, St. Augustine (c. 1861–1865). View looking into town. (via speciesbarocus)
The Descent from the Cross (detail of the Virgin’s dress), c. 1435-8
by Rogier van der Weyden (via invisiblestories)
Winter Garden in Neunen, 1884
by Vincent van Gogh (via amare-habeo)
Roman Opałka was a French-born Polish painter who painted numbers. In 1965 he began painting a process of counting – from one to infinity. Starting in the top left-hand corner of the canvas and finishing in the bottom right-hand corner, the tiny numbers were painted in horizontal rows. Each new canvas, which the artist called a ‘detail’, took up counting where the last left off. Each ‘detail’ is the same size (196 x 135 cm), the dimension of his studio door in Warsaw. All details have the same title, “1965 / 1 – ∞”; the concept had no end, and the artist pledged his life to its execution: “All my work is a single thing, the description from number one to infinity. A single thing, a single life.”
Over the years there were changes to the ritual. In Opałka’s first details he painted white numbers onto a black background. In 1968 he changed to a grey background “because it’s not a symbolic colour, nor an emotional one”, and in 1972 he decided he would gradually lighten this grey background by adding 1 per cent more white to the ground with each passing detail. He expected to be painting virtually in white on white by the time he reached 7,777,777: “My objective is to get up to the white on white and still be alive.” As of July 2004, he had reached 5.5 million.