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Sade Olutola

ellievsbear

@theartofmadeline
Peter Solarz

shark vs the universe
cherry valley forever

2025 on Tumblr: Trends That Defined the Year

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Mike Driver

PR's Tumblrdome
RMH

Kiana Khansmith
Claire Keane
Today's Document
Misplaced Lens Cap
EXPECTATIONS
sheepfilms
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@mirabile---visu

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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they call me the flower enjoyer
Zeina Hashem Beck (زينة هاشم بيك), 'Tired of Knocking' broadside, [from 'Dear White Critic /', The Adroit Journal, Issue 24, January 2019. © Zeina Hashem Beck], Expedition Press, Kingston, WA (then Seattle, WA), 2020, First edition of 200 copies
Octavia E. Butler, Kindred, Doubleday & Company, Garden City, NY, 1979 [DreamHaven Books, Minneapolis, MN]
Federico Federici, cumulative composition (of simultaneous conversations), (Olivetti Studio 46, pigment liner, graphite on paper), 2026 [© Federico Federici]

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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Federico Federici, dunkelight, (Olivetti Studio 46, pigment liner on paper), 2021 [© Federico Federici]
From: glieffimeri, [Monologointeriore], [M3], (inkjet printing on transparent paper, 29,7 x 21 cm; whole and details), 2026 [© Lucrezia Guarnieri]
Sonia Delaunay, Projet de tissu simultané n° 6, (gouache wash), 1924, [«Hypothèses». © Pracusa S.A. / Musée des Arts Décoratifs, Paris (inv. 40393)]
Sonia Delaunay 1885-1979: Rhythmen und Farben, Museum Bellerive / Museum für Gestaltung Zürich, 1987 [Cover Art: © Pracusa S.A.]
Lebenswerk des typografen und malers Hans Bächer 1917-2007, Design by Philipp Broger (Sichtwerk), Museum Thalwil, Thalwil, 2009 [typoswiss]

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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Celestino Piatti, Schweizer Mustermesse Basel 11.–21. April 1959, Mustermesse Basel, 1959 [Museum für Gestaltung Zürich]
Raad Khair Allah, Unveiling Arab Feminism through Multilingualism. Etel Adnan, «Journal of World Literature», Volume 10, Issue 4, Special Issue: Multilingualisms: Views from the Global South, Edited by David Damrosch and Delia Ungureanu, Brill, 2025, pp. 588-607 [Art: © The Estate of Etel Adnan / Adagp, Paris]
Footsteps (feat. Laucan) Samuel Organ
Cocteau Twins, The Spangle Maker, (12" EP), BAD 405, 4AD, 1984 [Covet The Cover]
"In North American and European universities, we are taught to consider the worldliness of people, objects, images, and texts. But this is a worldliness taught in a “dimensionless place,” as Glissant would say, a place that vacates it of its true social relations. We are seeing today, in the glaring shadow of genocide, that the university has space only for the abstraction (and monetization) of black, brown, queer, indigenous and working-class worldliness while having no space for the material realities of their being. There is no place of and for Palestinians in the disciplinary definition of academic worldliness especially on American, Canadian, and European campuses.
Glissant is clear in teaching us that mondialitié is not universalism (or globalization) but a worldliness that is determined by our relation to knowledge of the world; knowledge and experience constituted through communal, not individual, experience (or perhaps filiative experiences if we combine Said and Glissant). In this relation to the world, colonial, marginalized, and racialized subjects know a world that is otherwise imperceptible and illegible to—if not negated by—those in power and those of privilege, those who themselves have dragged so many to genocide, to the “abyss.”"

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Matt Lifson, Falling in love with the poison you slap in my mouth, 2020
Oil on linen
Uschi Obermaier smokes a huge blunt, 1969.
In her autobiography “Das wilde Leben,” she claimed that her breakfast usually consisted of apple juice, a line of heroin and a joint.