Photographs of me in my 20s
The bottom photo is me with my nephew.

official daine visual archive
"I'm Dorothy Gale from Kansas"
RMH

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JVL

❣ Chile in a Photography ❣
YOU ARE THE REASON

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art blog(derogatory)
Keni

I'd rather be in outer space 🛸
occasionally subtle
Cosmic Funnies

roma★
cherry valley forever
$LAYYYTER
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@tigrikorn
Photographs of me in my 20s
The bottom photo is me with my nephew.

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🦄 Happy National Unicorn Day! 🦄
April 9th is National Unicorn Day. I'm not kiddin'!
Sitcom pilot clip I created with Fotor -- Two wannabe punk band buddies brainstorm their band's future in a makeshift club lounge. One of them needs to read up on how to pronounce tambourine! LOL! 😅
Thinking about the Wildstorm/DC Super Hero Team The Authority
Art by Brian Hitch

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Cat Quickly & Loudly Knocks on the Door, In a Very Unique Way
Vintage Social Networking
Yellow Submarine, 1968
Yay, Nowhere Man!
Little boy plays ping pong with a kitten
That kitten has mad skillz!
Pablo Picasso Playing Cowboy

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Weird Fantasy (1950) #18 written by Al Feldstein and drawn by Joe Orlando, with editor Bill Gaines
So he said it can't be a Black. So I said, "For God's sakes, Judge Murphy, that's the whole point of the Goddamn story!" So he said, "No, it can't be a Black". Bill just called him up and raised the roof, and finally they said, "Well, you gotta take the perspiration off". I had the stars glistening in the perspiration on his Black skin. Bill said, "Fuck you", and he hung up.
Al Feldstein, Tales of Terror: The EC Companion
Just to add context for those not aware of the impact of this story.
The reason it was so important for narrative purposes, was that the plot concerns the visit of the Astronaut, in his completely opaque spacesuit, to a planet populated entirely by self-aware robots (originally from Earth) who have built their own society and are petitioning to be allowed to interact with Earth again as equals.
They have a democratic government and free choice of careers etc. as the orange robot serving as guide tells the Astronaut.
The Astronaut notices that there are two different types of robot on this world; the orange ones, who are in charge, gifted access to all information and facilities. and the blue robots, who are seen as more limited in function, have less access to information and resources, and are not allowed positions of power or as wide a choice of employment opportunities. Even transportation is segregated.
The Astronaut investigates further and discovers that the blue and orange robots are actually structurally identical, there is absolutely no difference between their potential or capabilities, and it is only because the orange robots are instructed by their Educator system to consider themselves superior, that the difference exists.
The Astronaut tells the robots they are not ready for re-alignment with Earth, until they come to terms with their own unfairness, and how Earth had had to deal with this issue themselves. When that time comes, the robots will be able to ally with Earth.
Then he leaves in his spaceship, and it's only in that one final panel that we see the Astronaut is black.
Not subtle, nor should it be, but for 1950 this was a breathtakingly powerful statement, perhaps the first of it's kind in the genre.
The black character was not a caricature, or comedy relief, he was a main character in his own right, a human who "simply" was black.
Ok, but this story is sadly revolutionary even now. That is not just a human who happens to be black, as far as every other character in this story is concerned this is the most important, maybe even the only human they ever see, who happens to be black.
As depressing as that is, but a black person just casually representing the entirety of humanity is a breathtakingly powerfull statement even today, a quarter of a century later.
BRUCE
GOFF
MATERIAL WORLDS
American architect Bruce Goff (1904-1982) created extraordinary worlds from humble materials and unexpected geometries. He is best known for groundbreaking idiosyncratic single-family homes in suburban and rural areas across the United States that explode with color and texture-as well as cellophane, coal, goose feathers, and sequins. Dubbed the "Michelangelo of kitsch," Goff rejected the minimalist aesthetics of his midcentury contemporaries and forged an architecture of fantastical, yet real, invention.
Goff's unbounded creative life-including a devotion to abstract painting and modern music-was deeply rooted in the Midwest and Great Plains, where he based his practice. As a largely self-taught architect, Goff was shaped by close mentorships, most importantly with architect Frank Lloyd Wright. His tireless exploration of the world through art, music, and objects encompassed Native American art, science fiction, queer modernism, and East and Southeast Asian art and music.
Bruce Goff: Material Worlds celebrates the radical independence of Goff's vision.
Bringing together his architectural drawings, mixed-media paintings, musical compositions, and wide-ranging personal collections, this retrospective exhibition positions Goff as an unprecedented force in 20th-century American architecture.
Matisse's Jazz
Henri Matisse's Jazz marked a watershed moment in the avant-garde French artist's career. The book, considered one of the most celebrated artist's books of the 20th century, represented the culmination of his lifelong exploration of two core visual components: color and line.
For 40 years Matisse's color and line existed separately, related but never fully unified-at least not to the satisfaction of the artist. When an almost fatal abdominal surgery in 1941 left the 71-year-old artist mostly bedridden and unable to paint, he turned in earnest to a new medium: He cut shapes from colorfully painted paper and pinned them into exuberant arrangements. With the encouragement of his friend Tériade (the pen name of book publisher Stratis Eleftheriades), Matisse produced 20 of these brightly colored and highly abstracted compositions inspired by memories of music halls, circus acts, a trip to Tahiti, folktales, and mythology-all of which became the images of Jazz.
Cut paper became Matisse's medium of choice for the rest of his life. "The paper cutouts allow me to draw with color," the artist wrote. "For me, it is a simplification.
Instead of drawing an outline and then filling in with color-with one modifying the other-I draw directly in color... It is not a starting point, it is a completion." This exhibition features Jazz alongside more than 50 works from the Art Institute's collection of drawings, illustrated books, paintings, prints, sculptures, and textiles that tell the story of Matisse's decades-long quest to "draw with color."
All works are by Henri Matisse (French, 1869-1954).
Support for Matisse's Jazz: Rhythms in Color is provided by the Harris Family Foundation in memory of Bette and Neison Harris, the Allan McNab Endowed Fund, and an anonymous donor.

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St. Francis of Assisi Church (also known as the Kaiserjubiläumskirche or Mexico Church) in Vienna, Austria.
Spatter Prodigy