āur quietā i am gatekeeping my personality from u

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āur quietā i am gatekeeping my personality from u

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bennie julian gay
Coffret, Metropolitan Museum of Art: Cloisters
The Cloisters Collection, 1955 Metropolitan Museum of Art, New York, NY Medium: Maple
http://www.metmuseum.org/art/collection/search/471561
Kate Bush āGet Out of My Houseā
I will not let you in!Ā Donāt you bring back the reveriesĀ I turn into a birdĀ Carry further than the word is heardĀ

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I hate archive fashion now who knew it would become the newest braindead thing
yeh the vision squashed under its own monolith: more or less a 25 year timespan merging into a single smoothly grained mosaic of Devon Aoki. And now sheās attained A.I., breaching the anaemic womb of tumblr to spawn endless instagram bots, programming a wasteland of artists and stylists; empty flesh vessels to reproduce polite Puk Puk weirdness.
āThe first time I saw a movie at the CinĆ©mathĆØque FranƧaise. I thought,āOnly the French, only the French would house a cinema inside a palace.ā The movie was Sam Fullerās Shock Corridor.Its images were so powerful ,it was like being hypnotized. I was 20 years old. It was the late 60ā²s. and Iād come to Paris for a year to study French. But it was here that I got my real education. I became a member of what in those days was kind of a free masonry. A free masonry of cinephiles, what weād call "film buffs.ā I was one of the insatiables, the ones youād always find sitting closest to the screen. Why do we sit so close? Maybe it was because we wanted to receive the images first, when they were still new, still fresh. before they cleared the hurdles of the rows behind us, before theyād been relayed back from row to row, spectator to spectator until worn-out, secondhand, the size of a postage stamp, it returned to the projectionistās cabin. Maybe, too, the screen really was a screen. It screened us from the world.ā
the dreamers, 2003
the lighthouse, 2019
So Iāve noticed a trend of out-of-context The Young Ones screencaps looking a whole lot like something out a David Lynch short.
I think about this a lot it was made to suit my brand.

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Ceceliaās room inĀ The Virgin Suicides (1999)
canāt wait to be married in a fucked up sort of double housewife situation
nobody makes the money all we do is cook dinner
Tim Scott, Photo by Robert Mapplethorpe, 1980
Eyes Wide Shut (Stanley Kubrick, 1999)
Solange Pessoa (Brazilian,Ā b.1961)

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Maison Martin Margiela autumn/winter 1998-1999 by Mark Borthwick
post 2/6
AnaĆÆs Nin, from āIn Favor of the Sensitive Man: Essays,ā publ. c. 1976