Glenn Brown, Architecture and Morality, 2004, Oil on panel, 140 x 98 cm
seen from China
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Glenn Brown, Architecture and Morality, 2004, Oil on panel, 140 x 98 cm

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TRACEY EMIN (British, b. 1963) "I Followed You into The water Knowing I would Never Return", 2011 Neon, 84.1 x 185.3 cm
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Damien Steven Hirst (/hΙΛrst/; nΓ© Brennan; born 7 June 1965) is an English artist and art collector. He is one of the Young British Artists (YBAs) who dominated the art scene in the UK during the 1990s. He is reportedly the United Kingdom's richest living artist, with his wealth estimated at US$384 million in the 2020 Sunday Times Rich List. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.
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A gang of us went to see Tracey Eminβs latest exhibit (entitled βI followed you to the endβ) yesterday at White Cube Bermondsey (19 September β 10 November 2024). Itβs described on White Cubeβs website as βa presentation of new paintings and sculptures that journey through love and loss, mortality and rebirth. Drawing from a recent, transformative experience, Emin continues her exploration of lifeβs most profound and intimate moments, with renewed intensity.β Quick thoughts: the show is dark, despairing and profoundly un-consoling. I dug it! The fiercely confrontational Emin has been typically brutally candid about the hardships of life post-cancer. Sheβs never sugar-coated anything, and itβs most definitely NOT her job to make anyone feel better! Utilizing a deliberately limited colour palette (and featuring lots of crimson paint splatters evoking dripping blood), the latest works includes titles like βI donβt want to have sex because my body feels deadβ, βThe End of Loveβ, βTears of Bloodβ and βI Kept Cryingβ. Many appear to be what I assume are autobiographical portraits of agonized women splayed out in bed, often with their pet cat hovering protectively nearby (which made me reflect how my own cat Eartha Kitten would NEVER deign to do this for me). The White Cube was absolutely thronging on a Sunday β and bizarrely, loads of people were snapping perky smiling selfies in front of the works! Pictured: βI Waited So Long β Too Longβ (2024).

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Some photos I took at the Albertina in Vienna in May 2022, from the exhibition "Edvard Munch in Dialogue". These are all recent paintings by Tracey Emin
Blending science and the supernatural, high art and gothic horror, Hamad Butt made work that was literally dangerous, in one case sparking f
I hadn't remembered the artist's name, but I saw this picture and it instantly brought back a vivid memory of seeing the installation on show (I don't remember where, but I assume it was the Rites of Passage show at the Tate in 1995), and the terrifying humour, peril, temptation, shock of it:
Cradle was a monumental variation on the desk toy Newtonβs Cradle, but rather than metal balls that knock against each other, it comprised 18 vacuum-sealed glass baubles filled with lethal chlorine gas which would smash if set in motion. Hypostasis consisted of three vicious-looking bowed glass spears with orange liquid bromine tips. The third work was Substance Sublimation Unit β a perilous ladder with rungs made from vials containing heat lamps and iodine crystals, which transformed into a gorgeous violet vapour as they were heated, ascending like an otherworldly stairway. Buttβs dark humour is evident in these visceral sculptures that invite participation but can also kill.
Because seriously, you see these big glass baubles strung from the ceiling, swaying ever so slightly with the movement of air in the room, and even knowing how fragile they are, and that they're full of poisonous gas, they do tempt you to set them in motion, just once...
I'm glad I have more context now, and sad that we lost this artist so young (he died in 1994, age 32), because even without knowing more, it has stuck in my memory for thirty years.
Dominic Johnson, professor at Londonβs Queen Mary University, is writing a book on Butt, whose work he considers βthe most sophisticated response we have in British art to HIV/Aidsβ. βHe produces these environments that are both fearful and seductive, and that just seems so fertile for thinking about sexuality in that moment. At the same time heβs thinking about his own body as a vector of fear, as an HIV-positive body, a brown body, a Muslim-appearing body β all these other ways in which heβs this fearful outsider figure,β he says. βAll that makes the work very powerful; itβs also really beautiful.β In uniting seemingly opposing ideas such as science and the supernatural, emotion and intellect, the sacred and profane, high art and gothic horror, Buttβs work feels astonishingly fresh and resonant today. Restlessly curious, he understood that science did not have all the answers and was equally invested in art and alchemy. In a poignant moment of [his brother] Jamalβs home video, Butt laments the disappearance of demons, familiars and magic in the shift from βmedieval alchemical witchcraft to modern rationalistic chemistryβ. Despite his weak condition, he laughs, saying: βItβs this dangerous spirit that I like and think should be revived.β
Guido Mister in all of its old glory, i need help in drawing arms, guns and perspective x)