Taurus Moon ( ) part one
Writer/Director/Editor: Sydney Harvey
Cinematographer: Lauren Schrader
Musical Score/Art Dir: Christina Silvius
Producer: Charing Fernandez
Producer: Courtney Cottle
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Taurus Moon ( ) part one
Writer/Director/Editor: Sydney Harvey
Cinematographer: Lauren Schrader
Musical Score/Art Dir: Christina Silvius
Producer: Charing Fernandez
Producer: Courtney Cottle

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Tateishi Tetsuomi - Spring, 1973.
立石鐵臣「春」1973年
Agnes Pelton, “Star Gazer” (1929).
self portrait
Remedios Varo, wearing a mask made by Leonora Carrington and Kati Horna, ca. 1957

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https://pin.it/5jyp7xkfxtbg7d
Gorgeous Eartha Kitt.
Vintage deco “Lady Dainty” rouge compact. Producer and date unknown.

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Velvet kitty powder compact by Schuco, c. 1927. Found on eBay.
Detail from Madame de Pompadour by François Boucher (1750)
1943 Revlon Advertisement
La Llamada by Remedios Varo (1961)
Lorraine O’Grady’s first public performance, Mlle Bourgeoise Noire, remains a pivotal work of race, gender, and class critique. Dressed in an elaborate costume made of 180 pairs of white gloves and carrying a cat-o’-nine-tails whip made from sail rope studded with white chrysanthemums, O’Grady made uninvited appearances at openings at the New Museum of Contemporary Art and Just Above Midtown Gallery as the farcical and indicting persona Miss Black Middle-Class 1955, demanding attention for black women artists.
Lorraine O'Grady (American, born 1934) Untitled (Mlle Bourgeoise Noire), 1980-83/2009. Gelatin silver prints, 2 of 14 works total. Courtesy of Alexander Gray Associates, New York ⇨ Mlle Bourgeoise Noire Costume, 1980. Costume made from white gloves. The Eileen Harris Norton Collection, Santa Monica, California.

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“Narcissus Garden” by Yayoi Kusama (1966)
Yayoi Kusama, a Japanese artist and writer, created the “garden” in 1966 which was then shown in the 33rd Venice Biennale. The installation holds 1,500 metallic balls that reflect and distort the landscape around them as well as the person who views them. During the opening week, Kusama placed two signs at the installation. The first sign read “NARCISSUS GARDEN, KUSAMA” while the other said “YOUR NARCISSISM FOR SALE”. While wearing a gold kimono and emphasizing her “otherness” of being an artist from Japan making an entrance into the American art scene she acted as a street peddler and went around selling the balls to anyone willing to buy them for $2. She also distributed flyers with complimentary remarks about her work from Herbert Read, an art critic and co-founder of the Institute of Contemporary Arts The Biennale officials eventually stepped in and put and end to her “side-business” but the installation remained.
The recreation of Narcissus Garden via commissions and re-installations in various other places has killed its original intention of criticizing the narcissism that Kusama was addressing in a post-WWII America. While the installation was originally made as an interactive performance between the artist and the viewer, the installation and mirror balls themselves are put into high value and are now regarded as decorations with hefty price tags and worth.
Leila Hyams, 1927