#who's afraid of contemporary art

[birdy-bird27]

Oh sweet tumblr I remember why I never leave.

[hotvintagepoll]

Propaganda

Louise Brooks (Pandora's Box, Diary of a Lost Girl)—Louise Brooks started off as a dancer and went to work in the Follies before going to Hollywood. Disappointed with her roles there, she went to Germany and proceeded to make Pandora's Box, the first film to show a lesbian on-screen (not her but one of her many doomed admirers in the film), and Diary of a Lost Girl, both of which are considered two of the greatest films of the 20th century. She helped popularize the bob and natural acting, acting far more subtly than her contemporaries who treated the camera as a stage audience. After the collapse of her film career and a remarkably rough patch as a high-end sex worker, she was rediscovered and did film criticism, notably "Lulu in Hollywood," which Rodger Ebert called "indispensable." Also, christ. Look at her.

Vilma Bánky (The Son of the Sheik, The Eagle)—She's famous now for being a silent star ruined by the transition to talkies, unlike her frequent co-star Ronald Colman. I think that's a shame, as she has a real vivaciousness and charm in The Winning of Barbara Worth. In this *checks notes* western about environmental engineering, she rides around the desert and gets wooed by both Colman and a young Gary Cooper (good for her dot gif.) Even in stills from films that are sadly lost, I think there is a distinctive warmth and individuality to her. Also she is extremely hot in her extremely pre-Code dress in The Magic Flame.

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Louise Brooks:

"Defined the style of the modern flapper. A gaze that could make a stone fall in love."

"Louise Brooks left a legend far greater than her real achievement as an actress, but even today few people have seen her films. In our own time, the fascination with Brooks seems to have begun in 1979 with a profile by Kenneth Tynan in the New Yorker, which revealed that the actress who made her last movie in 1938 was alive and living in Rochester, N.Y. Such was the power of Tynan's prose that people began to seek out her existing films, primarily this one, to discover what the fuss was about. What we see here is a healthy young woman -- she was 23 when the film was released -- with whom the camera, under G.W. Pabst's influence, is fascinated. There is a deep paradox in Brooks and her career: the American girl who found success in the troubled Europe between two wars; the vivid personality who briefly dazzled two continents but faded into obscurity; the liberated woman who had affairs with such prominent men as CBS founder William S. Paley as well as with women including (by her account) Greta Garbo but wound up a solitary recluse. And all of this seems perfectly in keeping with her most celebrated role in Pandora's Box. For despite her bright vitality, her flashing dark eyes and brilliant smile, Brooks's Lulu becomes the ultimate femme fatale, careering her way toward destruction, not only of her lovers but eventually of herself."

"She invented having bangs to indicate that you have borderline personality disorder"

"chances are if youve ever seen a "flapper girl" character or even just art of a generic flapper type made after the 20s it was based on her appearance - particularly the bob hairstyle! she had some pretty rough experiences through her life before during and after her tumultuous acting career which ended in 1938 but she made it to the 80s, wrote an autobiography and did a lot of interviews that she was never afraid of being honest in about her own life or peers of the age, and apparently was unabashed about some affairs she had with well known women (including greta garbo!!)"

"She read Proust and Schopenhauer on set between sets. She was one of the original flappers/new women of the 1920s. She had a one night stand with Garbo and was the inspiration for Sally Bowles in Cabaret. Truly a stone cold fox."

"on her wikipedia page it says her biographer said she "loved women as a homosexual man, rather than as a lesbian, would love them" and while i have no idea if this is true or not i thought that was very gender of her"

"despite being american she was big in german expressionist films and thus her aesthetic was unmatched!!"

So far ahead of her time in regard to portraying complicated women. Timeless elegance. "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act.” - Louise Brooks

Vilma Bánky:

I love Vilma Bánky! She was called "the Hungarian Rhapsody" and apparently had a thick Hungarian accent which I think is cute. Several men fighting over the same women can be very cliche but when I saw her in The Winning of Barbara Worth (1926) I got it because my god she really is that drop dead gorgeous. She's also a wonderful actress though, expressive yet natural. I read once that seeing her in The Dark Angel (1925)—a film now seemingly lost—inspired Merle Oberon to become an actress :)

This is more of a factoid but she was apparently the women's golf champion at Wilshire Country Club through the 1940s. [link] I just think she's neat.

I love herrrrr she’s my everything. Watching her kiss Rudolph Valentino in Son of the Sheik made me so flustered I had to pause the movie to cool down. She’s the prettiest the most beautiful the most incredible woman I’ve ever seen. I could look at a picture of her for hours

[vasyandii]

Hellooo!!! I have a question for the two goobers: Would Nak/Kreuger rather go to a museum (weither it be art, historical, etc) or a zoo (Or something simular like an aquarium or a butterfly garden)?

Does KruegerNak prefer Museums or the Zoo?

Howdy Mishap! I'm personally a fan of both so it got me thinking a bit! Here's them at my visit to the modern art museum last year :) Thanks so much for the ask! 💞💞💞

I feel like neither but both at the same time xD. Each place is catered to their specific interests. But they both have things they enjoy about each trip :3

My headcanon, half of Krueger's family (Dad side) are part of "higher society" + being naturally artistic, he enjoys museums, contemporary art, etc.

Nak is still technically considered "New Money" because of Naga, plus how she was raised, she really doesn't see anything cool in art museums or museums in general. She's willing to go with him because it's something he enjoys, and she likes walking beside him as he explains each piece. She really enjoys how smart he is when he wants to be.

Nak likes animals so zoos, aquariums, etc. are enjoyable for her, she likes pointing at the ones that she thinks look like him, and there are slightly less restrictions in there unlike the museum (Don't touch the paintings, don't stand too close, etc.)

Since Krueger is rather indifferent about most animals, that feeling naturally transfers over to zoos. He'll find other ways to entertain himself there by taking pictures of the plants or being the Map Man. He'll go to the zoo or aquarium with Nak because he likes seeing her happy and excited :D (Sorry if it doesn't make sense)

Their Interaction at an Art Museum usually goes like this...

Who's Afraid of Red, Yellow and Blue III - Barnett Newman

"It's..red."

"And.."

"And blue."

"Can you see the yellow?"

"I think..? It blends in with the red."

"The paint is so fine that it morphs into the canvas."

"Uh huh... I could probably do that."

"You couldn't, someone tried."

"Did they?"

"Mhmm. Someone slashed the canvas, the restorer thought it'd be easy to fix, it came out worse and people got mad."

"How'd it come out worse?."

"Glad you asked"

(He then goes on a looong tangent, she listens of course)

And the zoo..

"Se, Look, look! he's drinking water!"

"Yea, Want to see something cool?"

"Yeah?"

He takes a sip from a bottle of water, promptly closing the cap, proud of himself with a grin.

"Swoon."

"You know I can throw you in there."

"Yes."

"Want me to?"

"Maybe. But I wanted to take you to see the big cats."

"...I'll throw you later."

(after a while, she finds him a shady area to rest a bit, she knows he's a bit tired from walking around so much)

"Did you get any good photos?"

"Of you or the animals?"

"Both."

"..Most of what's in here are plants."

"That's good too."

[horse-girl-anthy]

beneath the cut is an essay I've titled "Ikuhara Fandom, Shoujo Manga, and Eroticism." it discusses potentially upsetting subject matter.

when I first encountered RGU in 2014, I was largely baffled, though I thought the ending was very good. after that, I didn't rewatch more than an episode or two of the show again until 2020. Ikuhara was inaccessible to me as a teenager, but I spent years studying media, so when I returned to RGU, it was like discovering a goldmine. by the end of 2020, I'd watched all of Ikuhara's original shows.

the thing is, I still found Ikuhara challenging. there were things about his works which were seemingly contrary to my value system. I would read interviews of his and he would say things which sounded alarming--to use cliche terminology, he wasn't very politically correct.

if we're being honest, there is a party line in a lot of left-leaning fandom spaces. I used to be a part of that more than I am now; I had rigid ideas of right and wrong. today in the Ikuhara fandom, I often feel like the elephant in the room is that his works aren't the kind of "queer feminist masterpieces" that people portray them as. now, by that, I don't mean that those words don't apply to his works: what I mean is that the way people frame them, the way they discuss their meaning, doesn't bear that much relation to Ikuhara and his oevre.

RGU gets this treatment more than his other works. in fact, certain fans want to claim it as the work which truly aligns with their values, while Penguindrum, YKA, and Sarazanmai actively subvert RGU's message. a lot of other fans just stick with RGU, claiming it as a work without critiquing it. by critique, I don't mean negative criticism: I mean critique as in actual engagement with the text.

I remember that there was a point when I was afraid to engage with more Ikuhara interviews/works, since I thought I would find something out about him that made it so that I couldn't enjoy RGU. after all, when I would hang around in RGU spaces, every so often I'd see someone say that Ikuhara was super problematic. then I realized I was ignoring one of RGU's main themes, facing the truth rather than trying to stay in an idyllic past, so I took the dive. I had my ideas challenged, my values changed, and my entire approach to media shifted by doing so.

it's been strange to be in the English-speaking fandom, where everything is taken very seriously and there's certain universal assumptions about RGU's meaning, when many of the things held as absolutes are simply not so in the Japanese fandom. equally, the creative minds behind RGU are often in conflict with the Western fandom as well. once or twice, I've seen someone point this out and say that RGU is actually problematic/patriarchal, but mostly, it is ignored.

for instance, the character Ruka is massively hated in the western fandom, while as far as I understand, Juri/Ruka is one of the most common Japanese doujin pairings. Mamoru Hosoda, who storyboarded many Juri episodes, claimed that Ruka was in love with Juri. turning to Ikuhara, he often phrases things in a way that could leave you wondering if he's as much of a "feminist ally" as people want to paint him as. of the women's liberation movement, Ikuhara said, "On the one hand you had this social movement, but then in their heads I think almost everyone was thinking: this is lame (laugh), I don't wanna do this (laugh)."

consider this exchange from the same interview for a demonstration of just how differently people in the western fandom approach media compared to Ikuhara and a contemporary of his, art critic Mari Kotani:

Ikuhara: Speaking of sexuality, after Utena I wrote a novel which features lots of hermaphroditic characters. It's a collaborative work, a book called Schell Bullet. Kotani: It is a fantasy world? Ikuhara: It's a future world. Humanity has divided into roughly two groups, Majors and Minors. Because of gene manipulation the Majors are hermaphrodites without male/female sexes, and they have a monopoly on good genetic material. The Minors are humans who have fallen away from the monopolized gene material, they look basically the same are present-day humans, and have two sexes. Kotani: Sounds interesting! Are the Minors kind of like slaves, like in The Human Livestock Yapū?

later:

Ikuhara: The boss is visually female, a Major with a very bold beauty. From the start I wanted the main character's boss to be a hermaphroditic woman. That's because, the way I see it, even the Major women in the real world, that is to say women who are competent workers, seem to have an intense male side. 

what I find most interesting in this exchange is how Kotani casually brings up the idea of sexual slavery as a fun angle for Ikuhara's hermaphrodite novel. it's not to say that this kind of attitude is universal in Japan, just as leftist fandom spaces aren't universal here in America. however, there is obviously a huge difference in values between these two worlds.

so, what world is Ikuhara occupying? where did he come from and what are his influences? exploring these questions is what helped me to come to peace with his works, and in the process, I changed my own thinking.

I'm not really qualified to speak in depth on Japan, its history, culture, or values. however, I have looked into specific trends which I know were influences on Ikuhara specifically, so that's what I'll focus on here.

Ikuhara was born in 1964 and became a teenager in the 1970s. it was a period marked by a lot of social movements. he describes in many interviews feeling completely disillusioned when, rather than change society, the movements were crushed or simply collapsed in on themselves. "oh, maybe there's no way to change the world after all." however, one way or another, he seems to have pulled himself out of that despair. his works are all designed to give modern people a way out of the end of history brought on by the failure of radical change and the onset of the neoliberal global order.

as a young creative, he was into the dramatist/director Shuji Terayama and other artists who were pushing boundaries. in the Kotani interview, he stated:

Ikuhara: Terayama's words are interesting too, but what I find the most kitschy and cool is his theatre. Suddenly a completely naked actress would appear, without even a genital cover, and this was in Kinokuniya Hall! The police might barge in saying "Hey, wait a second". I guess this is why they say it's a fine line between a hero and a criminal (laugh), but until then I had never thought that showing your panties or showing your willy could be anything but shamelessness, and now the Asahi Shimbun was treating it as superb culture. I found that gap extremely mysterious and fascinating, and personally I felt a cultural nuance there.

clearly, the libertine values of 20th century countercultures left their mark on him. more than that, he is interested in the conflict between sexual repression and sexual expression, which has only escalated in Japan and in the West up until today.

turning to the anime/manga sphere, I know that RGU has a reputation as being very triggering, but to be honest, compared to its predecessors, RGU is mild and restrained. J.A. Seazer, a musician who Tereyama collaborated with, wrote songs for both RGU and the the 1992 anime film Midori. the story is old, dating back to the beginning of the 20th century, and it's been adapted as recently as 2016. Midori is an exploitation film: full of child rape, set in a freak show, featuring countless horrors in its 40-minute run. I've watched it and would not recommend it unless you're interested in the ero guro genre.

I bring up Midori as an example of the media landscape Ikuhara began his career in. he was working on Sailor Moon, so obviously, there was less heavy content in the world of anime and manga, but Sailor Moon is represents only one side of shoujo. Ikuhara is more aligned with the Year 24 Group, who revolutionized shoujo in the 1970s. the group produced a wide range of works, many of which had obvious influences on Ikuhara.

I know that Ikuhara is often associated with lesbians, but in fact, I would say that shoujo BL is one of his largest anime/manga influences. the early work Kaze to Ki no Uta is an acknowledged influence on RGU, and Ikuhara did an interview with its mangaka, Takemiya Keiko.

many of the early BL mangaka were inspired by western literature. Demian is not only referenced in RGU but also in Kaze to Ki no Uta. most important for BL is the 1912 German novel Death in Venice, as well as its 1971 film adaptation. for those unfamiliar, the novel is about a man in his 50s stalking a young teenage boy, becoming completely obsessed with him and other underage kids. it is a sexual obsession, but there are other angles to it, and the story has been analyzed in various ways. the fascination seen in shoujo and BL with beautiful young boys, as well as pedophilia, can be in part traced back to this story.

taking inspiration from Death in Venice, shoujo's fundamental character dynamic was established, one that can also be seen in a film such as Midori: innocence versus experience. the ever-present theme is corruption, how abuse and exploitation corrode personalities and create societal damage.

how this is handled can vary from work to work. I understand that grotesque depictions of child abuse or failure to condemn pedophilia hard enough make some people not want to engage with these works at all. I will say, whatever one thinks of Death in Venice, Kaze to Ki no Uta, along with the BL manga of Takemiya's contemporary Moto Hagio, are certainly not child porn. I think there is no excuse for CP, and even if there are things in Kaze to Ki no Uta that I question, it is overall a work of artistic merit, beyond holding interest to me as an early work in the genre.

as I've said, RGU is mild compared to much of what came before it, as well as a contemporary manga like A Cruel God Reigns. however, the core of its character dynamics are in line with shoujo/BL. the twist is that the work focuses on relationships between women.

Kotani: ...Watching it, the relationships between women, including the dialogue, were very sexual, very vivid, right? Ikuhara: But I think what it is expressing is simply yaoi. To do that using shōjo "royal road"-like characters, and with two women, is somewhat rare I think.

Utena and Anthy are easy to compare to BL couples who came before them, like Serge and Gilbert or Ash and Eiji. rather than approach gender issues through projection on to pretty boys, Be-Papas chose to use women, creating their own version of a gendered social system. of course, other Year 24 Group members used lesbians or GNC women to explore similar themes, with Rose of Versailles being another major influence on RGU. however, Ikuhara claiming that RGU is essentially yaoi has fascinated me for years.

Anthy and Akio are experience, knowledge, and corruption, while Utena is innocence, youth, and purity. like many predatory shoujo characters, Akio is obsessed with innocence and purity while also seeking to destroy them. the drama centers on Utena's struggle with corruption, as well as Anthy's conflicted feelings towards her friend's naivety, as she both identifies her past self with Utena and resents her for her ignorance. the story also features intense power dynamics, which, over the course of the narrative, are upset. all of these elements are standard for BL and shoujo.

to dig deeper into the value sense behind these works, here is a passage from the Takemiya/Ikuhara interview:

Takemiya: What I wanted to ask is about “crossing the line” for a girl [implicitly losing one's virginity/sexual purity]. I thought Utena crossed it unexpectedly easily. Ikuhara: Ah, I’m not thinking very deeply, right? Actually, I just wanted to suggest that it doesn’t matter. Because a lot of people seem to get caught up in issues of purity, I wanted to show that it didn’t matter. Takemiya: But doesn’t it seem like more kids these days don’t care about those things? Ikuhara: Yes, and that’s another reason I did it. But I think there are still many people who would try to put it in a box and say purity is important because it is an animation. Takemiya: Actually I think it’s more likely a lot of people will try to use the purity as an index of understanding. I guess you are an adult if you can overcome that. Ikuhara: That’s true, there are a lot of people that want to put a line between justice and absolute evil based on purity. I didn’t want them to do that. Whether manga or anime, I think it can become a motivation for the viewers and the readers in real life. I don’t like when people draw lines, out in society, equating absolute evil with impurity - in an animation which is nothing more than fiction, drawing a line between those that are carnally pure and those that are not.

I think we can all agree that Akio was in the wrong for trying to make Utena feel guilty for sleeping with him in episode 38 of RGU. but going further, Ikuhara and Takemiya say that they want to reject purity as an index of understanding altogether. to me, what this means is not jumping to immediate judgments, not treating issues of sexuality as if they are so deep as to sully the soul.

this is NOT to make some kind of excuse for pedophilia or child porn. I know from my own life how harmful those things are. to close out this discussion, I am going to try to explain what I mean by touching on the use of eroticism in art.

years ago, I was watching Naoki Urasawa's Manben, a show which gives space to mangaka to show off their process. Junji Ito went on it, and I was troubled by the following moment from the episode:

before I got into Ikuhara, I didn't have a grasp on the erotic. when I watched this, my thought was, why are they talking about a toddler being erotic?

after having gained an appreciation for eros's place in art, I understand what they were saying here. eros is hard to define, but it relates to sensuality: a way of interacting with the world which is beyond the intellect. the erotic is not pornographic: it is evocative, a way to make any work of art touch its audience on a deeper level. it is related to sexuality but is not the same thing as it. for Ito, exaggerating the erotic aspect of this character helps him to create even greater horror. the point is not to make a toddler sexy.

RGU relies heavily on this kind of eroticism for different purposes, both within the series and in the promotional art. whenever I see someone trying to ban a specific kind of fan art, I roll my eyes for this very reason. it's not as if there's any significant numbers of people making RGU exploitation porn or anything; most of it is in line with the show itself. for instance:

official art of characters all 13 and younger

Anthy having sex with her brother in the series proper (episode 31)

I have seen RGU called exploitative and fetishized, though not as often as I've seen the same criticism leveled at later Ikuhara works. however, more often than not, the disturbing eroticism of RGU is left uncommented on.

to come full circle, the reason that I now have a lot of admiration for Ikuhara is that I've come to see that the "problematic" aspects of his work help him to tell meaningful stories. all of his anime are designed to spark self-revelation/self-transformation in their audiences. additionally, I now appreciate erotics for what they are, feeling them on the sensual level rather than intellectualizing about them. viewing the above images, various readings can be drawn, arguments made about the impact of their eroticism on the themes they express. however, there is a more primal appeal to them, something which draws the eye. that aesthetic quality, by itself, deserves to be defended. those who dislike it should probably not engage with Ikuhara works. from RGU commentary, episode 38:

Hideki Mori: Are you always trying to work in this type of erotic undertone? Ikuhara: Yes, well... if it doesn't have that kind of stuff... it's not very interesting! Either I'm doing it to make it interesting or maybe I just wanted to see that.

I will finish with two final points. firstly, I think that letting go of one's automatic response of moral judgment is essential when approaching Ikuhara anime. this is not the same thing as advocating for a laissez-faire, anything-goes approach; it is simply saying, before applying preconcieved notions, let the work's textual, aesthetic, erotic, and sensual levels wash over you. if you give the work time and find some aspect of it offensive, that's one thing, but I am glad that I didn't let my kneejerk reactions turn me off of Ikuhara. along with that, don't immediately apply some kind of feminist, queer, or leftist lens to explain everything either. just let the work breathe.

lastly, I want to share Ikuhara's words on what affect he thought RGU had on its audience:

Ikuhara: I didn’t want 'Utena' to become a nice story. A story can be pretty, but it feels like a lie. From the beginning, the story was going to be about saving a friend, so in that sense that was the goal, but it can easily become a nice story, so to break away from that I made sure that it was a foolish story. I think it’s this foolishness that makes ‘Utena’ so popular with adults. Not in a sexual way, but more that watching it at that point makes it more relatable. 

to re-emphasize, my point with this discussion was that much of Ikuhara's artistry is ignored because his approach and influences are considered problematic. that being said, it was never his intention to make a work about "sexy teenagers" who adult viewers can masturbate over. none of his works are that: they feature students because anime often features students, and because he has an interest in the threshold between childhood and adulthood. although I am now 26, I can see myself in all of his casts, and the eroticization of the art makes me more invested in the story and themes, not titillated.

[tamelee]

[link]

I’m pretty sure this is the appropriate amount of rage that occurs after visiting most Naruto-related subreddits (or otherwise) which is why I avoid them. Usually I’d read through it for you but I’m not in the right headspace now so I’ll just address what you’ve sent if that’s okay?

I’ve always found the notion of “if one of them was a girl…” pretty interesting and well, pointless. I mean… the Naruto-fandom in its entirety suffers from people arguing with- and for double standards. No amount of logic, critical thinking or analyses of the narrative makes sense to someone that is reluctant to accept anything other than what they believe is the norm. Not even the story itself. Especially because it isn’t marketed as something that actively represents something other than the readers would expect. That’s why I don’t think having Naruto and Sasuke intentionally kiss in the story would do much to change these deep-rooted core-beliefs. All it will do is force these people to reason with themselves in a way they can rationalize it (one of those: “Men calling women porn addicted has GOT to be the funniest thing I've seen all day.”) and I’m pretty sure romance still wouldn’t be considered— “unless one of them was a girl”. 

And well, I have many thoughts on that which I’ll spare you, but regardless… stereotypes, heteronormativity, media representation, implicit biases, culture and societal norms also play a role in people’s thinking which makes it all the more complicated, doesn’t it? Sasuke would’ve easily been accepted as the love-interest otherwise— as quickly as in Chapter 3. 

I’ve read a lot of contemporary YA lately because I have a very unserious personal vendetta against the book-whoever girlies that confidently try to explain literature while praising the most god-awful books in existence, but if one thing is certain… it’s that a lot of those romantic stories apply the very same tropes as the ones you can find between Naruto and Sasuke. Many of them are used to support a romantic relationship (as does everything else), yet… the possibility for romance is already an assumption anyway. 

“It got me so pissed I swear I hate dudebros and straight female fans 😡” 

Eh. I would be a bit more specific here. I don’t agree with this generalization. I get what you mean and I understand your frustration because many are homophobic for sure and aren’t afraid to get loud about it unfortunately. I mean… I make SNS art and am not too quiet about it either… so I receive a lot of this bullshit through asks, DM’s, tags or comments… though despite not being a fan or willing to accept the bond as romantic, there are many, MANY who appreciate the bond between Naruto and Sasuke regardless and I personally think that deserves some credit for what it’s worth regardless of who they are. (Yes, even dudebro's because I know some personally who are like that.) But anyway, nothing serious, just wanted to quickly note that. 

… what do Geto and Gojo got to do with it? Don’t tell me it’s the whole dialogue thing ><

[otrtbs]

hiiii !!! you’re like my favourite writer ever. the whole reason i got into the marauders is because of my love for art and finding art heist baby 🙈

i live in aus and i’m turning 17 soon. i want to do a degree in art history but im scared it wont get me anywhere? what do you think??

hi!!! thank you so much, this is so sweet!!! <3

well, as someone with 2 degrees in art history i am afraid i will be a bit biased here but i say absolutely do it if it's something that you love and are passionate about!

being completely candid here i had the best time in school. the BEST time. i loved every second of what i was doing and learning and it never felt like a chore. then for about 5 months post-grad i wanted to find a very large hole and bury myself in it because i could not get a job that utilized my degree to save my life. they were either extremely low paying (seriously, no person could live off of that wage and they were also PhD preferred) or entry level jobs calling for 5+ years experience ???? Like. GET. REAL. (not to worry tho i just recently got a job (aye) as an exhibitions and collections specialist at a museum so we are so on the up and up again)

also being candid here. you're never going to make a ton of money in this field. you're not gonna be "rich" and 95% of it is who you know. the art world is small. TRUST. also, most positions in an art historical field require at least a master's degree tbh. a lot would prefer a PhD especially if you're looking to do curatorial work in any time period pre 1920s. (so if you're an impressionist/baroque/renaissance kinda person be prepared to get a PhD and be prepared to learn another language aside from english to get a good job in the field) <- i do find that it's easier if you're more modern and contemporary focused to get on with just a masters degree

that being said, if this is what you want to do. if this is what you love. it is never a waste and you will find a way. (if I can find a way anyone can find a way). my best advice is talk to your professors, do internships, work if you can !!!! volunteer at your art museums!!!! meet and talk to the museum professionals in your area and NETWORK!! (I can't stress enough how many times someone has been like "oh you worked [redacted] did you know [redacted]?'" and i could be like "yes!!! i worked under them for two years loved her!! blah blah blah" it goes a long. way. i've had professors send me gallery writing guides and artist biography guides from when they worked at the MET so i would know how to write them, academic advisors in scotland know my art history professors in undergrad and subsequently became my bestie by extension, curators at a museum i volunteered at teach me how to work archival systems when they had a free minute)

talk to as many people as you can!! network!!! get some experience in archival systems, instillation work, art historical research!! work with your local university's/city's museum or archeological center! that way, when you're on your inevitable 239823 interview post-grad, someone at some gallery will be like "oh you worked here? under so-and-so???? you're hired"

i love it. what i do doesn't ever feel like work to me, it's exciting and fun and enjoyable and not something i do so i can do other things. it's not something i do just to make money. it's hard. post-grad is hard. but it's hard for a lot of people rn, not just art historians. i'm always gonna say go for it!!!! it is never a waste to do something you love!!

[saint-vagrant]

Oh I forgot to ask a question!

😂

Ok, here it is: Who’s your inspirations for your artistry?

Big question, I know.

^__^

hmmmm you're right, that is a big question! since you asked "who" i'm going to assume you mean other artists?

for painting i'm particularly inspired by Anthony Cudahy, Alex Beck, Sterling Hundley, Ashley Wood (all contemporary,) Euan Uglow, Joaquin Sorolla, Sargent, Arkady Plastov, Ivan Shishkin, Konstantin Yuon, Ferenc Pinter, and a number of names in the Brandywine school like Mead Schaeffer and NC Wyeth.

i reformatted my brain a little in 2021 by reading Fujimoto's Chainsaw Man. Other mangaka are Hirohiko Araki, Kosuke Fujishima, Otomo, Inoue, Urasawa, Miura. the 2S artist Brandon Hoax is a HUGE inspiration to me. same for Chase Conley, Peter Chung, Freddy Carrasco, Xia Gordon, Ron Wimberly, Chris Kindred, Mel Tow, Hiro Isono, mozame_mo, Yoshitake Yamane, @maxbanshees @potogawaryuiki @coshkunz @cparrisartand @fourcorneredgod @newjackcole @choodraws @doctop @hirosemaryhello @nocturnalwalkr @fanficciera @oak-n @purenonsens @juangeedraws @plaest2k @blackblobyellowcone @turndecassette2 many more friends and strangers whose work i'm delighted to spend time traveling thru (and whose names i'll add in once i publish this enormous reply lol. rn i'm afraid of tumblr eating it!!)

most importantly, my partner Anka @kingfisher-cove charmed and captivated me from day one. the personality and dynamism of their work, specificity of place, time, body, personal effects, there's always been so much life in their art. i have little to no interest in stories/characters without limits, where mobility is never a concern, especially featuring the wealthy. stories where people don't sweat or pee or have "bad" teeth or talk too loud. Anka's always portrayed peeling paint and rusted metal as a fact of life. you get a sense of dimension/volume in their art— the way material hangs off a body, and that body's form, how gravity and weight conform feet to the ground— and the same goes for the personalities and ideas populating it. the viewer too has a home here beyond "representation." it's not just window-dressing, nor ponderous hyperrealism. there's cartoon whimsy and cartoon stakes. i wish i could describe the extent it's meaningful to me. i feel lucky to see it! plus i really making them yell and art is a good way of accomplishing it.

so because this is veering into WHAT inspires me...

other than like, transness and communism and everything that entails, i'm inspired heavily by pornography and leather culture, and (mostly vintage) magazines like Honcho and Juggs, 70s italian erotica/nunsploitation. relatedly, the lush scenes of Pierre et Gilles and Tarsem and Christian Riese Lassen. i'm also deeply inspired by hyperlink/multimedia art, such as that by Olia Lialina of @oneterabyteofkilobyteage or projects like Ted's Cave. places and delights of my childhood like Myst/Riven, Fin Fin, rural river water, rocky beaches, soft glowing glades, sharks in coral outcrops. autonomy and dissociation, too.

with a lot of the artists i mentioned, there is a handiness, a presence in their work, a dedication to indulgence and/or experimentation, in subject, setting, medium, whatever. an interest not feigned. i also love maximalist colour and texture... in drawings, in textiles, anything! worldwide and through history. i'm inspired by golden age illustration and Iranian turquoise and carpets. miniatures. iconography. lotuses. magnolia.

you can fake sincerity of course. when it comes to making art that seems like a waste of precious effort. when i get a sense that the artist really loves People beyond serving up a telephone game of vibe-mood-aesthetic... that is cool to me. if the art isn't well-lived, then it's well-cared for. a lot of the nostalgia fodder is based on a memory of a memory that was sold for mass market consumers, so i'm a bit distrusting of it. which isn't to say that i don't love a tone poem (i do-- Legend is one of my favourite films) nor that it requires "realism" to accomplish either. i love being sold on the ridiculous. i respond well to like, an artist (in whatever respect) showing me something absurd with 100% unbridled earnestness and fearlessness about being silly. my top 3 favourite series are JoJo's Bizarre Adventure, Metal Gear Solid, and Ace Attorney. these are objectively as exaggerated in their drama as they are serious about their intent, and populated by straight freaks. one of my favourite directors is Michael Mann (Miami Vice, Manhunter, Heat, Thief, Collateral) who is known for his obsessive, even illustrative details but also, Audioslave plays during an emotional night drive. they don't let Audioslave play during an emotional night drive anymore. all these things are related lmao. let me go on a further tangent

there's an internal logic, right? and when it's flipped? that's the best. i don't mean a "twist," either. it's something else-- the author/artist revealing that, emotionally, things were always more complex than you were lead to believe, and it recontextualises the entire piece. if surprise is the best part of comedy then i think the same goes for melancholy. i love when the rug is pulled out from under me through something as simple as the reimagined N'doul episodes of the JJBA OVA. (YES! YES! I'LL TALK ABOUT IT FOREVER! I'M CRAZY! BUT I'M RIGHT!) is it a twist? nothing's actually changed about where the story is headed. you know where it's headed. but the meaning of that story has-- by creating an emotional trapdoor like that, it establishes a particular sense of suspense.

i'm mentioning these because i rewatched them recently-- films like Solaris and Sunshine and... you know what? Terminator are bigger to me than their subject matter because the emotional space they create is unnerving, where hope is fragile if it's present at all. something hard to accomplish... the bittersweet potency of ironic regret.

i'll keep adding to this. i could go on and on lol

[nattawinlove-andmygaytea]

Mew Suppasit Jongcheveevat And Tul Pakorn Thanasrivanitchai On Love, Travel, Upcoming Projects And More

Together, the Thai stars are rewriting the rules of being a leading man in film and television all while venturing into new territories, pursuing passion projects and living their lives unapologetically.

Forget everything you think you know about being a leading man. Thai actors, Mew Suppasit Jongcheveevat and Tul Pakorn “Tyler” Thanasrivanitchai, are redefining what it means to be a household name after starring in Thai boys’ love (BL) dramas.

Unlike the uninhibited and daring characters he sometimes plays on screen, Mew comes across as a reserved, soft-spoken yet confident gentleman in person. On set, he’s polite, charming and eager for feedback despite possessing a wellspring of experience in the entertainment industry. “Are my poses okay? Do I need to do anything differently?” he earnestly asks Kenneth Goh, our editor-in-chief who was art directing the shoot in Bangkok, Thailand.

Mew’s rise to fame was gradual. The 32-year-old earned his stripes as a model before getting his first big break as an actor when he was cast as Pree in the Thai BL drama What The Duck: The Series (2018). The show was an instant hit in Thailand, and was brought back for a second season. But it wasn’t until his role in TharnType: The Series, where he played Tharn, a gay man who falls in love with his homophobic roommate (played by Gulf Kanawut Traipipattanapong) in university, that his star rose dramatically.

Mew is also a gifted musician. His debut album 365 ranked number three on the worldwide iTunes album chart, and was number one in 18 countries. He also became the first Thai artiste to debut an album that reached the 13th spot on iTunes’ Global Digital Artist Ranking list. He has since struck out on his own with Mew Suppasit Studio, through which he releases new music.

His success as an actor and recording artist hasn’t gone unnoticed. He caught the eye of luxury fashion brands such as Maison Valentino, Tod’s and BOSS, resulting in coveted partnerships and front row seats at Milan fashion week.

In contrast, Tul exhibits golden retriever energy. Charming and enthusiastic in the flesh, he is the polar opposite of Mew on set. Tul is playful and adventurous, taking initiative on how to better bring the concept of the shoot to life. “It might be better if I stood behind Mew for this shot so we’re both facing the camera,” he thoughtfully suggests. His energy is infectious and he’s not afraid to do whatever it takes to get the best photo. On set, they are drawn to each other, playfully tugging at each other’s clothes, while warm embraces and encouraging shoulder rubs signal a close bond. After lunch, the laughs grew louder, the boyish repartee naughtier and the hugs tighter. Clearly, Mew and Tul have a special affinity with each other.

Like his contemporary, Tul’s first foray into the entertainment industry was through modelling. “I was a drum major during the Chula–Thammasat Traditional Football match back in 2011, and I was scouted by a modelling agency,” he recalls. “I was later spotted modelling during a fashion show by a casting director and was asked to go on an audition. I started acting in my third year in university, accepting one production a year.”

The casting director’s eye for talent proved to be on the money—the 31-year-old shot to fame, thanks to the success of Together With Me (2018), where he played Knock, a sexually-confused university student who ends up falling in love with his gay childhood best friend. With his newfound popularity, opportunities within the fashion industry opened up for Tul as well.

Another similarity between the two men is their dedication to academic excellence. Mew has a master’s degree in Engineering from Chulalongkorn University, while Tul just graduated from Columbia University with an MSc in Real Estate Development and worked as an acquisition intern at Cycamore Capital in New York City.

Mew and Tul are testament to the modern idea that there’s no one way to reach the pinnacle of success, and that there’s always room for personal and professional enrichment and time for passion projects. We sat both of them down for an intimate tête-à-tête on style, travel, upcoming projects, their goals for the new year and more.

ON FASHION

Tul: How would you describe your style?

Mew: It depends. I love to mix and match. I have different types of tops that I’d mix with different bottoms, shoes and accessories.

T: Your wardrobe is huge (laughs)!

M: What about you?

T: In Thailand, anything lightweight. I’m very sensitive to the heat. I’m still experimenting with my style, but I love Korean fashion. I think the cutting is more flattering for us Asians and it’s more sophisticated. I like something minimal with details that is easy to mix and match with what you already have. For Thai fashion, I like Greyhound.

M: Handbags! You have so many bags!

T: Shoulder bags and crossbody bags. Well, the thing is, I don’t feel like dressing up much while in Thailand. So I play with bags instead.

M: I bought him a new bag last year and I only saw him use it once. You know the problem isn’t about how often he uses it. The problem is, he was whining a lot when he wanted it. But when I bought it for him, he rarely used it.

T: I used it many times! Around five times.

M: In the entire year!

T: When I want him to buy me something, I’ll send him a picture saying, ‘It’s beautiful, isn’t it?’

ON FOOD AND TRAVEL

M: Any restaurant recommendations?

T: I think Japanese restaurants are great. I like yakiniku and shabu shabu, but I really recommend grilled prawns.

M: Any good ones in Ayutthaya? Once I ate them on a raft and threw up. I guess I had seasickness. River prawns are very fatty and the raft was floating, so I felt terrible.

T: I would recommend Ginzado. It’s a Japanese yakiniku restaurant.

M: What’s your favourite food?

T: Asian food. I enjoy Thai, Chinese, Japanese, and Korean food.

M: You know what our new discovery is? Peruvian food! It’s very good.

T: Yes, Peruvian food! So good!

M: We ate it in Canada.

T: Peruvian food is like a mix of Latin and Japanese food.

M: The restaurant we ate at in Miami was very good too.

T: Yes. They have this dish that’s a lot like our Yum (spicy salad). I think Thai people will like it. If you don’t enjoy Mexican cuisine, you might like Peruvian.

M: Do you always plan your trips or just go with the flow?

T: I always plan.

M: Overplan, more like it! He’s the one in charge of trips, and the itinerary is always just nice—not too packed.

T: I told you I can be obsessive-compulsive. When we travel, I want the best things at the best price. It needs to be cost-efficient. When you need to be somewhere at a certain point in time—such as seeing the sunrise at a particular spot—I will do everything to make sure we get to see the sunrise. I plan everything in advance and I don’t want anyone in the group to have to pay for something unnecessarily expensive. If, at some time, business class tickets are excessively costly and premium economy is more value for money, then we should do premium economy. I’ll be attentive to everyone’s rewards and mileage to ensure they don’t need to pay extra when they can redeem miles.

M: He will have all the information on hand like, if we’re going somewhere and need to use a particular airline, we should apply for this and that in advance, so we have benefits like better seats or baggage allowance.

ON WHAT’S NEXT

T: What are your plans for this year?

M: Last year, I worked on many projects, series and movies, so you’ll see a lot of my work both on television and in cinema. I’ll be back working on music soon as well. In addition, I have a fan meet around my birthday in February, so I’m looking forward to meeting my supporters there. Among the projects that I’ve completed is Mon Rak Luk Thung, a remake of a classic Thai musical rom-com. This is my first time singing many luk thung [folk] songs.

T: I’m thinking of seriously moving away from entertainment, and focussing on my family business. I’m currently working as a project manager for our new project in Bangna. It’s a community mall with a fresh food market. In the future, I would love to work in property management. I enjoy exploring residential and housing projects. I want to do something that offers customers high-quality products and a good quality of life. This is also the reason why I pursued my postgraduate study.

M: What are your goals for 2024?

T: I want to have a sexier body. I want to have time for the gym no matter what I have going on at work. Another goal of mine is to make more use of what I’ve learned in the US in my life. I want to be working on more tangible projects.

M: I have never had a chance to use any of the things I learned during my postgraduate studies (laughs). The research I did… I’ve used none of it.

ON THEMSELVES

W: How would you describe yourself?

T: I’m a worrywart. I think too much about every little thing despite my image as a very sociable extrovert. But when I’m on my own, I’m quite obsessive-compulsive; I will tidy my rooms and fold my clothes.

M: Everyone thinks he’s easy-going and very laid-back, but in reality, he’s a worrywart. He really, really thinks about everything. He keeps worrying about others.

T: It depends. I thought I could handle social media better as I got older but sometimes, I feel like I’m not as good at it as I could be. That said, after years in showbiz, I’m better at letting go and not letting it affect me as much.

M: I’m the opposite of Tul. He’s a worrywart despite his easy-going image. I look like I’m overthinking but in reality, I’m much more laid-back.

T: Exactly (laughs)!

ON LOVE

T: What’s your favourite love quote?

M: I don’t know… I’ve never thought of it.

T: Just Google ‘love quote’ and pick one you like.

M: For real? Okay, let’s see… Top 10 Love Quotes…

T: My love quote is ‘Bitch, I say what I say.’

M: What should I choose…what about this one? It’s quite short. ‘When there is love, there is life.’

[phanfictioncatalogue]

20k Words Masterlist

Act Naturally (ao3) - jestbee

Summary: Phil has a quiet life studying film at university and some small dreams of being a director he’s mostly ignoring, but his whole life is turned upside down when his roommate signs him up for a game show and he meets the famously arrogant movie star Daniel Howell

all signs point to yes (ao3) - vvelna

Summary: After being fired from his job at a coffee shop in Gatwick Airport, Dan impulsively hops on a flight to Orlando, Florida, where he’s taken in by a family on holiday.

All We Seem to Do Is Talk About Sex (ao3) - truerequitedlove

Summary: In which Dan’s got a boyfriend and a tongue piercing, and Phil’s got a weed hookup and an anxiety disorder. In high school, they were labeled “bad influences on each other,” maybe that would never go away.

because we are fools (ao3) - queerofcups

He realizes it calmly at first, and then suddenly with more clarity. He’s in love with Phil. But he absolutely cannot be in love with Phil.

Breathe Fire Into My Heart (ao3) - Finally_Facing_Failure

Summary: Dan Howell lives in a world were dragons fly the skies, with riders on their backs. He has to train to become a rider, even though he doesn’t want to. The upside? A boy named Phil who trains beside him.

Chance (ao3) - cafephan

Summary: Phil Lester is a nobleman in the country of Bennia, and his family must put forward a suitor for the Princess’ hand in marriage later in the month. During his last night in Manchester, he encounters charismatic Dan Howell, resulting in them both taking a chance.

Devotion (ao3) - roryonice

Summary: Dan is a ballerina who’s practicing for an audition at Julliard, but he’s afraid of performing in front of other people. He meets Phil, who’s gathering photos for his art portfolio, and Phil helps Dan come out of his shell in an interesting way.

Do You Know How in Love With You I Am (Please Notice) (ao3) - phantasticworks

Summary: Dan works at a small paper company, but the brightside to this boring career is that his best friend Phil is just a few feet away at reception. The downside to this is that he’s hopelessly, irrevocably in love with said best friend. Oh, and Phil is engaged, too.

Feel Good Inc. - melancholymango

Summary: Dan is your local sexually ambiguous religious boy. Phil is your local bad boy that sleeps with anyone that’ll have him and sins as if second nature. Then there’s also the poor original character that gets caught between them and their ridiculous amount of sexual tension. Threesomes, eh?

from up here you can’t beat the view (just watch me now) (ao3) -  kishere, maybeformepersonally

Summary: It’s 2009 and Dan finds Phil on the internet when a well-meaning mate of his recommends him to a certain site she likes. Dan quickly becomes a fan: watching Phil’s videos religiously and interacting with him on his socials. And, soon enough, Phil starts noticing him. A familiar enough story on the surface but here’s the catch: Phil has never been involved with YouTube. Phil is a camboy.

I Choose You (ao3) - Phandiction

Summary: Phil’s parents have decided to adopt and Phil’s thrilled to finally have a brother. When he meets Dan they hit it off but little did he know his parents had decided to bring home a little girl instead. Phil spends the next nine years visiting Dan at the orphanage. One day Dan unexpectedly goes outside the lines of friendship and Phil isn’t sure if he’s ready for that.

i feel a kick down in my soul (ao3) - chickenfree

Summary: “I’m going to obliterate you,” he says, taking a few long steps towards Phil.

Phil runs. It takes him a minute to realize the ball is in the opposite direction.

I Found (ao3) - wildflowerhowell

Summary: Dan Howell and Phil Lester hate each other, and everyone at the Ida Gatley school of dance knows it. So what happens when the two are paired together to choreograph and perform a duet at England’s most renowned contemporary dance competition?

I’m A Stitch Away From Making It (And A Scar Away From Falling Apart) - waverlysangels

Summary: Dan Howell is ‘the next big thing’ and Phil Lester is not good for publicity, will the increasing fame create tensions that simply cannot be overcome?

i will follow where this takes me (ao3) - curiosityandrain

Summary: Dan has a great life, he has an amazing job as a photographer and he lives in New York. Phil is an independent filmmaker who hires Dan to be his cinematographer for his upcoming feature film after his usual cinematographer was involved in an accident. The two hit it off and become instant friends. Weeks of working together everyday helps develop their friendship and slowly but surely, Dan realises his feelings for Phil run deeper than just friendship. The only problem is, Phil’s taken.

knight of wands (ao3) - dizzy

Summary: Some days are just boring.

(And some aren't.)

Love That Passes (Is Enough) (ao3) - nihilist_toothpaste

Summary: Phil is a sad divorcee who lives in a mansion. Dan starts as a nervous and weirdly loud law student hired to work part-time as Phil's poolboy-slash-housekeeper and turns into so much more.

Just go with me on this.

More at Eleven (ao3) - TwistedRocketPower

Summary: Phil Lester, the most beloved meteorologist at Southeast News, isn't sure of many things in his life. One thing he is sure of, however, is that he absolutely hates the new entertainment news anchor, Dan Howell.

No Angels (ao3) - ahsuga, danthrusts

Summary: Dan and Phil are detectives investigating the ongoing murders of citizens throughout London

Project Poliwag (ao3) - natigail

Summary: Phil hadn't intended for his garden to become a haven for rescued Pokémon, but it had happened accidentally. This particular rescue wasn't that different, even though he had never rescued 117 Pokémon at once before. But he couldn't leave the Pokémon eggs to be destroyed, and he was willing to raise a whole army of Poliwag on his own if he must.

What Phil hadn't counted on was a stranger with a lost look in his eye turning up on his doorstep and offering to help with the project.

Something So Strong (ao3) - Allthephils

Summary: Dan and Phil were the best of friends with some incredible benefits. Over a decade apart did nothing to weaken the bond between them but rekindling their friendship isn’t as simple as it should be.

The Parent Trap (ao3) - starsatellite

Summary: Alexandra Lester and Charlotte Howell are in for a big surprise at their summer camp when they realize they have the same face. After, literally, putting the pieces together they find out the big secret their parents hid from them when they were born. Now, all they want is to set them back up again - but these things aren’t always so easy.

(There’s Gotta Be) More To Life (ao3) - DisasterSoundtrack

Summary: Dan Howell finally gets a dog he dreamt of. Walking the dog every morning, he discovers many things about his neighbourhood, but, above all, one particularly attractive dad.

Unraveling - yuurisnice

Summary: Dan knew he was different from other children very early on. He never lost his ‘imaginary friends’, they only became a more integral part of his life. Living with his illness is never easy and with a secret as large as his, cracks are bound to appear. While he isn’t ashamed of his DID, he knows the consequences of telling the wrong people.

[mybeingthere]

Noŋgirrŋa Marawili

Born c.1938, Place of birth Darrpirra, Northern Territory, Language group: Madarrpa clan, Yolŋu people, Northern Territory.

Noŋgirrŋa Marawili is regarded as one of the most important artists working at Buku-Larrnggay Mulka at Yirrkala in the Northern Territory. Her highly sophisticated bark paintings, Larrakitj, works on paper and prints reflect an engrained, natural understanding of her culture, history and environment through her expressive and organic forms of painting. By combining natural materials such as earth ochres and stringy bark with a striking use of pink pigment (recovered from recycled print toner cartridges), Noŋgirrŋa alludes to her strong cultural ties, whilst simultaneously crossing artistic boundaries that only a senior woman of her strength could even contemplate.

Noŋgirrŋa Marawili’s already extraordinary career reached new heights in 2017 with her work being featured in significant exhibitions including Defying Empire: 3rd National Indigenous Art Triennial at the National Gallery of Australia, Who’s Afraid of Colour at the National Gallery of Victoria and TARNANTHI: Festival of Contemporary Aboriginal & Torres Strait Islander Art at the Art Gallery of South Australia. http://alcastongallery.com.au/.../63-nonggirrnga-marawili

[jmhwritesstuff]

About Me:

Jemma, she/her, infp, freelance editor

I mostly write fantasy but have a contemporary project

my work tends to be heavily character-focused

expect to find: snippets of my writing, aesthetic/mood boards, art, photography, fashion, quotes, writing tips/advice, and memes

Main WIP 

The Lightsworn Saga

Daughter of Shadow and Sun

Centuries after the war between the Lightsworn and the Fallen, the Saviour who gave her life to end it is reawakened with no memory of who she is or where she came from. Now she must fight to find the truth behind the Fallen King’s obsession with her, while balancing on the thin line between Light and Dark.

The Lightless Path (Lightsworn #1)

Set after the events of Daughter of Shadow and Sun, magic has long since disappeared, and the home of the Lightsworn has been left an abandoned and sacred graveyard. But Aira, a homeless thief from the streets, has been plummeted into a life she never dreamed of. As the next Lightsworn, she could be the city’s only hope of stopping the Darkness’ return. 

Other WIPs (x)

Freefall

Lexi returns home after three years at university to a house and town that has haunted her since she was sixteen. Alongside some familiar faces from her past, she begins to unpack the memories of all that happened during the Summer of ‘09 in the hopes of finally getting the closure she needs.

Information here will change as and when necessary, but don't be afraid to interact - I love making new friends and talking about writing!

[hotvintagepoll]

Propaganda

Louise Brooks (Pandora's Box, Diary of a Lost Girl)—Louise Brooks started off as a dancer and went to work in the Follies before going to Hollywood. Disappointed with her roles there, she went to Germany and proceeded to make Pandora's Box, the first film to show a lesbian on-screen (not her but one of her many doomed admirers in the film), and Diary of a Lost Girl, both of which are considered two of the greatest films of the 20th century. She helped popularize the bob and natural acting, acting far more subtly than her contemporaries who treated the camera as a stage audience. After the collapse of her film career and a remarkably rough patch as a high-end sex worker, she was rediscovered and did film criticism, notably "Lulu in Hollywood," which Rodger Ebert called "indispensable." Also, christ. Look at her.

Ruth Weyher (Secrets of a Soul, Warning Shadows)—my vintage crush

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Louise Brooks propaganda:

"Defined the style of the modern flapper. A gaze that could make a stone fall in love."

"Louise Brooks left a legend far greater than her real achievement as an actress, but even today few people have seen her films. In our own time, the fascination with Brooks seems to have begun in 1979 with a profile by Kenneth Tynan in the New Yorker, which revealed that the actress who made her last movie in 1938 was alive and living in Rochester, N.Y. Such was the power of Tynan's prose that people began to seek out her existing films, primarily this one, to discover what the fuss was about. What we see here is a healthy young woman -- she was 23 when the film was released -- with whom the camera, under G.W. Pabst's influence, is fascinated. There is a deep paradox in Brooks and her career: the American girl who found success in the troubled Europe between two wars; the vivid personality who briefly dazzled two continents but faded into obscurity; the liberated woman who had affairs with such prominent men as CBS founder William S. Paley as well as with women including (by her account) Greta Garbo but wound up a solitary recluse. And all of this seems perfectly in keeping with her most celebrated role in Pandora's Box. For despite her bright vitality, her flashing dark eyes and brilliant smile, Brooks's Lulu becomes the ultimate femme fatale, careering her way toward destruction, not only of her lovers but eventually of herself."

"She invented having bangs to indicate that you have borderline personality disorder"

"chances are if youve ever seen a "flapper girl" character or even just art of a generic flapper type made after the 20s it was based on her appearance - particularly the bob hairstyle! she had some pretty rough experiences through her life before during and after her tumultuous acting career which ended in 1938 but she made it to the 80s, wrote an autobiography and did a lot of interviews that she was never afraid of being honest in about her own life or peers of the age, and apparently was unabashed about some affairs she had with well known women (including greta garbo!!)"

"She read Proust and Schopenhauer on set between sets. She was one of the original flappers/new women of the 1920s. She had a one night stand with Garbo and was the inspiration for Sally Bowles in Cabaret. Truly a stone cold fox."

"on her wikipedia page it says her biographer said she "loved women as a homosexual man, rather than as a lesbian, would love them" and while i have no idea if this is true or not i thought that was very gender of her"

"despite being american she was big in german expressionist films and thus her aesthetic was unmatched!!"

So far ahead of her time in regard to portraying complicated women. Timeless elegance. "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act.” - Louise Brooks

Ruth Weyher propaganda:

[canmom]

l'aventure de canmom à annecy - épisode DEUX - dimanche

was a good first day of annecy. tomorrow I'll hopefully have a chance to get pictures off the camera and illustrate properly, but for a quick writeup...

today the festival events began halfway through the day, so I went for a little wander around the city in the morning! I visited the Palace de l'îsle, which is the building you're likely to see in every photo of annecy, at the fork in the river.

here's a photo of a photo and a drawing, which is all i have on my phone:

it's a pretty storied building, variously operating as a mint, a courthouse, and a prison. in the modern day, its lower floors are mostly devoted to the history of the building, while the upper floors are something like an industrial history of Annecy itself, which is not just a pretty old slice of medieval Europe to bait the tourists, but also was in the years from the French revolution up through the 20th century something of an industrial hub, hosting a loooong list of factories.

next stop was the castle! this castle sits on a hill overlooking the city, and it has been home to a variety of nobles, all of whom added bits, resulting in what the sign describes as 'architectural inconsistency'. i was hoping for more history but instead I mostly found art! lots of grand landscapes - I don't know enough art history to place them but from around the late 1800s. they were, frankly, bloody impressive, and I think I could learn a lot about composition, lighting, brushwork etc.... the top floor of the castle was devoted to contemporary artworks, so generally much more conceptual pieces - acrylic panels that cast shadows of bones, fingernails embedded in sandstone, that kind of thing. I'll fully admit this isn't really my scene so I didn't really get it, but I also didn't really have time to look around more since it was movie time!

this year the theme is Portugese animation, meaning there are seven entire programming blocks dedicated to Portugese stuff. accordingly, the first set movies I got to see was a collection of Portugese animated films by a duo called Abi Feijó and Regina Pessoa - who were in fact there in person, though since they addressed us in French I only got snatches of what they said. In any case, their work is super bold and dramatic.

the film that brought them together, and probably my favourite, was Os salteadores (1993) [The Outlaws] in which two passengers in a taxi discuss the partisans who fled Franco into Portugal during the Spanish civil war. The driver reveals that he ended up commanded to drive a truck with five captured partisans to the Spanish border. A comical scene in which the guards, afraid to untie the men, have to help them piss by hand turns very brutal when the men are executed by firing squad the moment they're turned over. The driver is haunted by this story years later. It's an intense film, full of strong chiaroscuro texture and inventive warps and perspective shifts - something they keep up throughout their other films.

my other faves from this block include Clandestino (2000) [Stowaway] in which a nameless stowaway makes a perilous journey along a rope to shore, menaced by his vivid imagination, and Tragic Story With Happy Ending (2005), a cryptically metaphorical story in which a girl has a deafeningly loud heartbeat and a yearning to fly as a bird. You know, that bird autism. She kinda maybe either becomes a bird or kills herself at the end! There is something quite funny about how this block is subtitled 'a happy story' - indeed the two do seem very happy to have found such a fulfilling creative outlet but all their stories are super dark! all were tremendously well made though and I hope I'll be able to run an animation night on them soon.

at this screening I was sat next to a guy called Diego, who handed me a list of Brazilian and South American animation, and was quite surprised I think that I could name two Brazilian animated films and even show him the long article I'd written on it x3 anyway thanks to him I've got lots of stuff to cover for next time we do Brazil!

after that it started raining pretty hard and didn't let up all evening. the upside is that the rain brings out a lot of pretty colours. the downside is that, expecting last year's brilliantly sunny weather, I totally neglected to bring a coat.

the next two screenings were also in Bonlieu Petite Salle - maybe Pathé isn't open yet. anyway, the other theme this year is animation and dance. This block focused on "using materials and the concept of shock". It was indeed pretty shocking. The coolest one I think was Ossa (2016) directed by Dario Imbrogno, a stop motion piece about a constantly shifting puppet where the armatures, lights and camera were all part of the performance. actually i can straight up embed this one off yt!

with the theme being dance, many of these were more non-narrative pieces, and all were without dialogue. which is not to say there were no stories to be seen! The Triangle Affair by Estonian director Andres Tenusaar was a pretty out-there one, depicting a world of hand-headed people where everyone moves in groups of 2-3. a window cleaner flirts with cleaners inside (there's a whole recurring bird poop cum visual metaphor); he's joined with a group of... prisoners? in stripey pyjamas, overhead lines carry bicycles around, a taxi driver talks to tram drivers, then some birds who are attempting to divide up the world with chalk are interrupted by cats; the birds trick the cats into jumping onto the windowcleaner causing all the aforementioned characters to fall off the building and die. that's the best i can describe it. i think the audio of this one might have damaged the bonlieu sound system because there were weird pops every so often after that.

there was an AI one - The Crow by Glenn Marshall from the UK. basically the director filmed themselves dancing and fed it into an AI that transformed it into images of crows. it got the most tepid applause of any film I saw today by far - and honestly it was not a very interesting film.

Chrysalis by Damien Serban and Yann Bertrand used a kinda cool looking decimate effect to portray the jerky motions of a butoh dance, including a cool sequence where the dancer's heartbeat becomes visible in the sand, but unfortunately it was way too long and outstayed its welcome.

then we get to Hipopotamy directed by Piotr Dumala from Poland. this one... hmmm. not sure how I feel! I assumed the idea was something based on greek myth, because it seemed like something the Greeks would come up with, but actually the idea is to portray humans acting like hippos do. including sexual assaults!

basically a group of naked men approach a group of naked women who are caring for their kids. the first man approaches and tries to fuck one of the women, who kills him with a rock. then the rest of the men run in and things get quite violent. the camera doesn't dwell or linger on the sexual assault but it's sure onscreen! anyway most of the kids are killed, and when the men come back, the women this time go to them willingly - except for one, who watches from deeper water, her child still alive.

i put this one in the genres of 'naked people do stuff' and 'what if humans did animal stuff'. it's funny that I've been doing this long enough now to start recognising that kind of pattern. i usually do like films to be pretty graphic, and this one was undeniably technically really well drawn and shot, it just was a lot to take in in the theatre there.

after the dance it was time for more Portugal stuff! this time we had films by the BAP animation collective. these were varied. by far the best ones were the three codirected by David Doutel and Vasco Sá, namely Soot (2014), Augur (2018) and Garrano (2022). Each of these depicts a moment of intense emotional drama - a man recalling how his brother died on a railway, a cattle farmer trying to handle his mystic cousin and prize bull as winter closes in, an abused boy and a garrano horse in an arson incident. These guys' eye for lighting, composition and texture is extraordinary, and these films are full of fantastic animated acting in a semi-realist style and incredibly strong sound design. I loved all three.

The other three films in this block were more abstract in general. Purbleboy is full of inventive animation, but I found its trans allegory kind of clumsy. The Sounds From The Drawers is a neat musical stop motion piece using a huge variety of objects. Drop by Drop was initially described as being about desertification, but I think they actually meant desertion, since it's about the last four inhabitants of a largely abandoned village, unified by the image of the Careto, a festival character who's like a kind of masked demon guy - the guy introducing these films demonstrated to us how the masked men sidle up to women and dance to 'initiate the sexual encounter' or something like that. In this case though he was not having sex, just gathering up the four inhabitants on a floating island as they lament the situation. I didn't really connect with this one, honestly.

After that... I had sushi, and tried to get into the opening ceremony, but no luck. I did get to chat with some animators and students and we all ended up going to Café des Artes in a big group, so I got to have a nice chat with some Americans, all sheltering under the canopy! I showed some people the Little Witch film and they liked it, so that's definitely a shot in the arm.

tomorrow the festival really gets going. I can't wait.

[themuse-if]

Another 20 (or so) Questions with Faye Winters

Interviewer: Welcome to another installment of our character interviews, where we dive deep into the lives and minds of our favorite cast members of The Muse. Today, we have Faye Winters with us, a contemporary dancer who can shape clay as fluidly as she shapes her body. Faye, thank you for joining us. Could you start by telling us what made you want to pursue dance and sculpting?

Faye: I've always felt a deep connection to movement and expression. Dance, especially contemporary dance, allows me to convey emotions and stories in a way that words cannot. And sculpting is a whole other thing! It allows me to create the human form in a single beautiful moment. It's so interesting to create something stationary that contains so much movement.

Interviewer: How do you want to be seen by others?

Faye: Honestly sometimes I wish that I could pick and choose when I'm actually perceived.

Interviewer: Ok...could you elaborate on that?

Faye: I'm naturally pretty extroverted and I really love being around friends, old and new. I've just been really struggling to navigate my relationships, peoples expectations, their assumptions about me. I don't like conflict but no matter what I do it seems to find me.

Interviewer: I see the more people you let in the more complicated life can become. How about your art, how do you want it to be seen by others?

Faye: Sometimes I really shy away from just letting my true emotions show, It's not that I'm not actually a cheerful person, I just don't know if people will like the other parts of me. When I dance...it's like I'm still me but since I'm performing I can put my whole self into it and not be afraid of being harshly judged for who I am. If someone feels the need to critique my work that's one thing, but when they judge my character then it actually hurts. *starts fiddling with her hair* Uh I'm not sure if that answers your question.

Interviewer: No, I understand. You want people to see all of you through your work even the parts your afraid for them to see. So what do you look for, what traits do you value most in a friend?

Faye: Authenticity. I value friends who are genuine, who accept me for who I am and who I can be myself around. I might have a really big social circle, but I've actually only got a few friends that truly understand me and make me feel safe.

Interviewer: Mhm that checks out. So, what is your latest obsession?

Faye: I've been baking even more recently. I'm trying to perfect some recipes before I start my blog. Mmm struggling to come up with a name for it though. Let me know I you think of something. *reveals the most charming smile*

Interviewer: *grins back* I'll start brainstorming ASAP! Ok could you describe your ideal partner?

Faye: *starts chewing on her bottom lip, lost in thought* I mean I don't have a type. I think that I just gravitate towards people that make me feel at ease. Chemistry should be natural, like I want them to be my best friend, but I also want to feel butterflies and be a bit nervous around them.

Interviewer: Alright, and what was your first kiss like?

Faye: *chuckles to herself* It was my eighth grade spring formal. I went with my friend Gabriella who I had a secret crush on. We were young and I was still figuring myself out, my sexuality my gender identity. She was so cool and I had a crush on her for a while but I wasn't sure if she liked girls. I wasn't even sure if I liked girls until we kissed. We were just going as friends, but the DJ (aka Mr. Harrison our English teacher) just kept playing slow songs and we still wanted to dance. So on the fifth slow song in a row we were swaying gently she was really locked in on my eyes. I suddenly felt brave and went in for a little peck. She didn't shy away, it was sweet. I didn't stop smiling for the rest of the night.

Interviewer: That's honestly too cute. It's nice that your first have left such a sweet memory. Ok next question. Have you ever been in love?

Faye: *lets out the deepest sigh* I think you already know the answer to that. *she closes her eyes, pinching the bridge of her nose* Yes I have been in love.

Interviewer: *clears their throat* Sorry about that...I don't think you'll like this next question either. When was your last relationship, and why did it end?

Faye: *covers her face with her hands* Uh god I really hate this. Ok, ok fine. You already know that Karla and I were together until recently, but hey I might as well tell you the whole story. We had a class together fall semester freshman year, Art-107: 2D Fundamentals. It's one of the core classes for Studio Arts. Anyways along with the obvious drawing assignments we also spent a lot of time taking field trips to galleries and museums. I had already noticed Karla in class but, she really stood out to me on those days...usually she would walk around with her headphones on, she seemed to be in a world entirely her own. Anyway, one day we were looking at the same piece and next thing I know she says, "You know we've been standing here for the last twenty minutes, and I haven't thought about anything except that you smell like lavender, honey, and sunshine." And then she just smiled at me...it was the most soft and unassuming expression. It's like she didn't have up any walls, she had a thought and just said it without worrying about it. She drew me in instantly. I never told her this, but I fell for her right then and there. At first everything felt so easy between us. Karla has this quiet confidence that just made me feel so secure in her, in myself...in us. *she lets out a bitter laugh* Then as usual when life starts getting to good obstacles come out to play! Long story short one of our "friends" started trying to drive a wedge between us. At the time I didn't realize it or want to believe it, but I think he was interested in me so he was always around and acting a little more than friendly. I tried to just brush it off as a little innocent crush. One day we were hanging out together waiting on Karla and next thing I know he's kissing me. *the interviewer's eyes go wide already knowing where this is going* Yeah...Karla had just walked in. Even though she saw me push him away. Even though I told here it was completely one sided she just didn't want to deal with the drama. And that was that.

Interviewer: Well fuck. That's really shitty. I can't even imagine having someone I thought was my friend do that to me.

Faye: Yeah it was really messed up. Sorry for rambling...I just wanted to get it off my chest, I'm so tired of people asking me about it. Now I just want to try and move on. But of course I haven't stopped thinking about her, not even for a single day.

Interviewer: I can imagine...sorry this next question almost feels to light hearted in comparison.*Faye shrugs signaling them to continue* What’s your ideal Friday night?

Faye: *she cracks a smile* Your right this is a rather light transition. Ok so my ideal Friday night would start with a sunset picnic. Just eating some yummy snacks, listing to music and being out in nature. Maybe we'll dance in the grass or just lay around and talk.

Interviewer: That sounds like a fantastic evening. What’s the last song you listened to?

Faye: "If You Were Mine" by Minova.

Interviewer: I'll have to give it a listen. How do you behave in a relationship?

Faye: In one word giving. I really like doing things for my partner. Curating sweet little gifts and dates keeping in mind how well I know them, in my opinion, is the best way to show them how I feel.

Interviewer: Do you approach those you’re interested in or let them come to you?

Faye: I think it's definitely a bit of both. I'll definitely approach someone first if it seems like they're on the shy side. Until I turned fourteen...maybe fifteen I was pretty awkward, but then I just decided to start accepting myself and putting myself out there.

Interviewer: What is your biggest pet peeve?

Faye: I really hate liars. Especially if you're lying about someone else. Like, why would you drag someone else's name through the mud.

Interviewer: What do you notice first about a person?

Faye: Their energy and presence. It's not that I believe in auras or anything, but people really do give off unique vibes.

Interviewer: What did you dream about last night?

Faye: Nothing that I can remember, thank god! I did watch a suspense movie right before bed, so I was sleeping with the lights on.

Interviewer: *lets out a light chuckle* Well Faye this has been an absolute pleasure, but I believe that’s all the time we have for today. Thank you so much for coming in and sharing more of your story with us!

[pressurizedcabin]

How did you get into doing art full time?

I started for therapy purposes: my therapist was getting a lot of information from what I was drawing, so it slowly picked up speed on my behalf. By the end of 2019 I had been in a couple of group shows and got absolutely hooked on the experience, and then with the 2020 lockdown I found myself without a job/lots of spare time which I gave to drawing full time. During that year I was thinking about making the decision, afraid of coming out to friends and family about wanting to dedicate my life to this, and by September I had been selected as a finalist in an important Chilean Museum's Young Contemporary Artist Award, which kinda sealed the deal for me but also gave me evidence that there was something to pursue here.

I was lucky to have a supporting partner around that same time, who helped with whatever little bills I had to pay, until mid 2021 when I started to make good money with prints, and around a year later I was fully supporting my very modest life through sales of original artwork (and a couple of monetary prizes I received from different awards helped).

[haeresys-realm]

Please DON'T READ IT if you simp her. Because this is mg blog and I can tell what I want to tell (and I forbidden to show everyone everywhere my massages to say – look my jackals how stupid and wrong this man is; I'm really tired of contemporary childish manners and no aim to education. And yes, everything I will say will sounds stupid because I have a pooer English vocabulary and grammar, so, please, if you can correct it, do ut, but dont to correct my further opinions and try to say shit about me) and there will be my first reaction of all this shit happened in spite I thought I was ready for it. But every time it gets worse than I expected. I can't bear it, really.

... because unfortunately she was the reason I started to hate this game. All I've written before was because a year ago it was leaked she is the 4th. Now she and her pathetic pathos that was just taken from other character model is forced so much that I can't see anything but childish praising for such a trivial cliched character.

It is so funnuly because she behaves ABSOLUTELY LIKE THE DOCTOR. As if he was her REAL FATHER AHAHAHA.

And after that this idiots on developpers say this!?

https://youtu.be/SycnWxUMvpU?si=fINqhY0EyT5JJw5l

I guess the author of this cringe deleted my most emotional comment for my canonical pointing out that this is an illogical delirium.

And I'm absolutely horrified of what a shit character they made of her. Just a stupid good-mommy with sad fate who got everything from nowhere. There's no reason she could live so well with such a "curse". There's no reason she would be forgiven. They said she's insane cursed child – no, she's just an absolutely fanservice character for nowadays teen girls and nothing else. Absolutely nowaday-teengirl-fanservice character.

Arlecchino is just a female fanservice mommy character of the so-called strong woman with bad fate. It's disgusting how hoyo uses this image to attract teen girls to this character. And this empty cliche really works.

How idiotically stupid should this little girl be to threaten a GOD. Dottore power lvl can't be even compared with her. Kusanali said he is God-leveled and she isn't EVEN a rival to him. I really feel sick of what a shit these idiots on game developers made with characters and harbingers now just to show stupid children cliched black and white morality that doesn't work in life and what made us all (adults especially) feel too boring while watching it agaaaain and agaaain. I never were so dissapointed in this game. The worst character for me ever.

The girl with Mary Sue powers from nowhere tells she could kill a 500 years old genius who made himself a god who can defeat archons. But children say they like it and respect her. I have no words. If you want the science to improve and new developments work on people you SHOULD TEST IT ON THEM WHETHER YOUR LIKE IF OR NOT. And if there are people the society don't need it is the only way to do, ESPECIALLY when we are talking about JUST A GAME. Fuck. This is not just boring, it's the worst scenario it could be. Some girl killed a Harbinger when she couldn't. And everyone just forgave her and gave highest rank and trust. Just because children wanted to see a mommy character with manly outfit, strict character and transgender nickname. The woman can't be a father. Live with this information. And good luck in your mental evolution, because there's no way for degradation if supporting such a cringe and see no strange things and insane idiotism in it.

Because I know how inadequate the childish community for whom it was done are I know that soon there will be plenty of so-called "arts" with Arlecchino humiliating Dottore, dominating him, etc, and he, perverted as a character, crying and begging for mercy as Furina. I really feel too sick of all of this disrespectful attitude to canonical images and characters stories and core. Bur now I'm afraid the so-called contemporary developers are doing the same shit. They are not much smarter than these teens because they have chosen not to improve their concepts but to make a fanservice primitive shit instead of it.

And you can think what you want but if there are her lickers everywhere, you shall know that there's another point of view and if you're not that dumb and mind-limited child you shall listen to the alternative side and accept it's existence. Don't answer me if you want to say some shit about me just because you feel offence for your waifu. I warned you before you read. Have a nice day.

P.S. The moment of sudden faith in humanity. I must mark it.