le mani di Egon.

cavetocanvas:

Francesco Clemente, Untitled, 1984
From the Boston Museum of Fine Arts:

Francesco Clemente has focused on the human body, senses and fears as his primary subject. Settling in New York in 1981, Clemente is one of the most prominent Neo-Expressionist painters to emerge in the 1980s. Characterized by expressive brushstrokes and emotionally-charged symbolism, Neo-Expressionism can be seen in Clemente’s frequent use of self-portraiture. As seen in this painting, it serves as a way to examine how identity is created through the perception of self. Here, the severed body parts seen in the whirlpool refer to fears of death and mutilation. These body fragments float in endless lines that form vortex-like circles within circles, a downward spiral that could symbolize the womb or a “black hole of the ego”. The theme of the anxiety of human existence is one that has been a subject in art for centuries and links this work to artists such as Edvard Munch (Norwegian, 1863-1944) famous for his painting, The Scream, 1893. Although the image of floating limbs is dramatic, the sense of anxiety is realized through the vortex created by the luminous green paint.

Francesco Clemente, Untitled, 1984

From the Boston Museum of Fine Arts:

Francesco Clemente has focused on the human body, senses and fears as his primary subject. Settling in New York in 1981, Clemente is one of the most prominent Neo-Expressionist painters to emerge in the 1980s. Characterized by expressive brushstrokes and emotionally-charged symbolism, Neo-Expressionism can be seen in Clemente’s frequent use of self-portraiture. As seen in this painting, it serves as a way to examine how identity is created through the perception of self. Here, the severed body parts seen in the whirlpool refer to fears of death and mutilation. These body fragments float in endless lines that form vortex-like circles within circles, a downward spiral that could symbolize the womb or a “black hole of the ego”. The theme of the anxiety of human existence is one that has been a subject in art for centuries and links this work to artists such as Edvard Munch (Norwegian, 1863-1944) famous for his painting, The Scream, 1893. Although the image of floating limbs is dramatic, the sense of anxiety is realized through the vortex created by the luminous green paint.

(via retrojapan)

your blog is awesome. asked by kitchenlights

Oh, thank you. I really enjoyed yours, too.

2:02pm

(Source: selfpublishbehappy.com)

(Source: alecshao, via pptchh-4kngs)

Skinn (revisitado) by bimer. on Flickr.

Mühim olan, bir ismi olmasıydı. İsmi bilinmeyen birini öldürmek aynı etkiyi yapmıyor. Onun somutluğu az. Ben, somutluğu seviyordum.

—La vie est dégueulasse, 1948

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

—Invisible Cities, Italo Calvino

leskylab:

Cüneyt Özdemir: Belgesel çekmeyi düşünür müsünüz peki?

Ara Güler: Abicim, filmin ne kadar zor bir iş olduğunu bilirim. Başımı derde sokmak istemem. Anladın mı? Çekeceksin de ne olacak? Öyle bir milletin içinde yaşıyoruz ki bir boktan anlamıyorlar abicim. Onun için yapmaya lüzum yok. Denize bakarım daha iyi. Anladın mı?

6:52am

The Pathological Body, Egon Schiele

(Source: joydivisian)

mirrorsandall:

by Ann Hamilton

(via sleeptighttiger)

. by feli punch on Flickr.