mentallytrill300 - Tumblr blog

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the immaculate heart of mother mary, silver and jeweled .

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{ Mahmoud Darwish/ Virginia Woolf/ Edgar Allan Poe, from a Letter to Helen Whitman, "The Last Letters of Edgar Allan Poe to Sarah Helen Whitman"/ Albert Camus, The Possessed (transl. By O'Brien)/ Emily Dickinson/ Anton Chekhov, The Complete Works of Anton Chekhov "The Two Volodyas"/ Jodi Picoult, Nineteen Minutes/ Louisa May Alcott, Little Women/ Yann Martel, Life of Pi/ Cameron Awkward-Rich, Meditations in an Emergency/ De profundis/ Oscar Wilde}

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mountaineer’s axe with heart-shaped holes and bronze reinforced shaft. japan, muromachi period, 14th century

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IMAN and KATOUCHA NIANE by Thierry Mugler (1987)

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Afro Culture (My Culture)

@woobosco

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Kinky Afro, photographed by Juergen Teller and styled by Judy Blame, December 1990

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SPACE IS THE PLACE  (1974) DIRECTOR: John Coney CINEMATOGRAPHER: Seth Hill

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John Rawlings - Vogue (Dec. 1941)

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Honor Fraser Dazed & Confused (1997) ph. Donna Trope

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Estate of Jimmy DeSana

Refrigerator

1978

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“The very word ‘submission’ contains the paradox of wanting and not wanting,” William S. Burroughs wrote in the introduction of Jimmy DeSana’s 1980 book Submission. 

For the photogragraphic series featured in the publication, made between 1977 and 1978, DeSana built on 101 Nudes (1972) and his work for File Megazine by creating theatrical and often comic photographs that push the limits of respectability and explore domestic confinement, consumer affluence, and social conformity. He was also mocking the recent trend of S-M scenarios in fashion photography and advertisements.  

He titled many of the images after the objects depicted in them—Toilet, Coffee Table, Television, Shoes, Shower—rather than sex acts or the names of the individuals shown, who are always anonymous and often wearing masks. This strategy not only protected the identity of his models, many of whom were friends, but also contrasted with his better-known portrait work during this period, which he did to make money. Many of the photographs comically equate practices of everyday life and consumerism (washing dishes, taking a shower, driving a car) with forms of bondage and discipline.

In exploring S-M through an aesthetic and performative lens, DeSana joined a long history of twentieth-century avant-gardes that engaged with these practices in order to compel debate on freedom of expression and power.

📷 Jimmy DeSana (American, 1949–1990). Toilet, 1977–78. Gelatin silver print, 9 9/16 × 6 ¾ in. (24.3 × 17.1 cm). Courtesy of the Jimmy DeSana Trust and P·P·O·W Gallery, New York. © Estate of Jimmy DeSana. (Photo: Allen Phillips)

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Jimmy DeSana’s work goes far beyond its transgressive, anti-institutional subject matter; he had a gift for defamiliarizing the body without dehumanizing it.

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Vinland, Photo by Sally Mann, 1992

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Sally Mann

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Sally Mann

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Cowboys

2014

Deana Lawson