SWAGEVERR

During World War II, 600,000 African-American women entered the wartime workforce. Previously, black women’s work in the United States was largely limited to domestic service and agricultural work, and wartime industries meant new and better-paying opportunities – if they made it through the hiring process, that is. White women were the targets of the U.S. government’s propaganda efforts, as embodied in the lasting and lauded image of Rosie the Riveter.Though largely ignored in America’s popular history of World War II, black women’s important contributions in World War II factories, which weren’t always so welcoming, are stunningly captured in these comparably rare snapshots of black Rosie the Riveters.

Zdzislaw Beksinski

The Terrifying Works of Zdzisław Beksiński

Nam June Paik and Shigeko Kubota, Merce by Merce by Paik Part Two: Merce and Marcel, 1978

Maria Lassnig

Among Sherman’s earliest works, Untitled #479 (1975) gives evidence of the creative mode that would become her signature.  It also reveals a telling affinity with Warhol’s Photobooth Self-Portraits (ca.1963).  Sherman has identified this composite of 23 wallet-size pictures—made for a class assignment when she was still a student at Buffalo State College—as her “first serious work.”

Untitled #70 (1980) - Cindy Sherman

Untitled Film Still No.48 (1979) – Cindy Sherman

Martin Kippenberger (German, 1953-1997), Untitled, 1996. Oil on canvas, 120 x 120 cm.

Martin Kippenberger, Apartment, 1981

Martin Kippenberger, Apartment, 1981

John Baldessari Green Kiss/Red Embrace (Disjunctive) 1988

Faster, Pussycat! Kill! Kill! (1965) dir. Russ Meyer

Throwback to when I made this for a high school project and my teacher was upset at me using Beyoncé to celebrate the King.