Writer Kurt Vonnegut running at the beach with a dog
During the Bubonic Plague, doctors wore these bird-like masks to avoid becoming sick. They would fill the beaks with spices and rose petals, so they wouldn’t have to smell the rotting bodies.
A theory during the Bubonic Plague was that the plague was caused by evil spirits. To scare the spirits away, the masks were intentionally designed to be creepy.
I need a Venetian plague mask.
I’m so obsessed with these.
I like that the plague may have been caused by ghosts and instead of praying them away people decided to scare them off. Someone’s like “so there’s these demons what can we do?” And someone else goes “let’s scare them.” And everyone agrees that it’s a reasonable plan, to make things creepy enough to frighten invisible monsters. People were pretty badass back then.
I was a plague doctor for Halloween this year.
An interactive installation where visitors can stroll through a storm without ever getting wet. This looks amazing. I hope I get to see it in person.
2 Tailor made suits, each consisting of jacket and trousers, made from rescue sheet, each ca. 210 x 60 cm
“Why do people go to the cinema? What takes them into a darkened room where, for two hours, they watch the play of shadows on a sheet? The search for entertainment? The need for a kind of drug? All over the world there are, indeed, entertainment firms and organizations which exploit cinema and television and spectacles of many other kinds. Our starting point, however, should not be there, but in the essential principles of cinema, which have to do with the human need to master and know the world. I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience—and not only enhances it but makes it longer, significantly longer. That is the power of cinema: ‘stars’, story-lines and entertainment have nothing to do with it.”
“I see it as my duty to stimulate reflection on what is essentially human and eternal in each individual soul, and which all too often a person will pass by, even though his fate lies in his hands. He is too busy chasing after phantoms and bowing down to idols. In the end everything can be reduced to the one simple element which is all a person can count upon in his existence: the capacity to love. That element can grow within the soul to become the supreme factor which determines the meaning of a person’s life. My function is to make whoever sees my films aware of his need to love and to give his love, and aware that beauty is summoning him.”
April 4, 1932 — December 29, 1986
Thank u Tarkovsky
i need this
google image search: lars tunbjork
I met Andrea in San Diego last year and was immediately floored by her work. (Also, being 1/4 Romanian but still knowing almost nothing about Romania, I’m always fascinated by Romanian artists.)
From afar, the stitching and calming colors looked like the work of a doting grandmother, but up close there were images of vaginas, fetuses and a study of the myths that mothers told their daughters in Transylvania, Romania, where Ms. Dezsö, 39, was raised…
Working in the city has provided fodder for many of her ideas and for her embroidery series, which she stitched while traveling throughout the city. A woman stitching in public is viewed differently in different neighborhoods, Ms. Dezsö found.
“If I’m in Queens, people think I’m a traditional woman,” Ms. Dezsö said. “If I’m in Manhattan, it’s the hippest thing.”
See more of Andrea’s work here.
these are freakin great