I LOVE the body/self acceptance movement. I really do.The gorgeous Kadaver.
(Source: noshamejustlove)
You know what is awesome? Feminine feminists. Why?Because they reject the patriarchal narrative of what it means to be an empowered woman. The patriarchy has made a space for “the feminist” within its structure and deemed her to be a hairy-legged, man-hating caricature. Now, I might not be the most feminine chick in the beauty salon (as my luxurious armpit hair will demonstrate) but the fact that I can shut down a sexist without getting any lipstick on my teeth makes me awesome.
By rejecting femininity wholesale, you’re actually agreeing with the sexist assumption that masculinity is better, that maleness is the more worthy gender. You can recognize the constructed nature of gender at the same time you perform it.
Gorgeousness. I love the single, red nipple and the way the angles, shapes and lack of faces almost abstract the bodies even while they remain entirely recognisable.
Going on the signature, I believe this is by Leone Frollo.
(Source: olderoticart)
Wench, by me Jessie Ngaio.
Digital painting I did this evening in ArtRage. You can click on it for a less compressed version at my website.
From this article here:
Each picture reflects a new identity taken from the mass media’s stereotyped views of women. (…) Sherman manipulates her own body by means of make-up, clothes and artificial body parts, and stages herself as various figures that she invents or re-invents, after which she photographs herself in her studio. Sherman’s idiom varies from the amusing and humorous through the shrill to the brutal.
Frida Kahlo, The Broken Column, 1944.
Frida Kahlo was one of the first artists for me to fall in love with, one of my earliest influences. Her work taught me that great art can be feminine, intimate, personal and heartbreaking. I still love her.
Another by Lisa Yuskovage. A personal favourite of mine.
This is a painting by Lisa Yuskavage. Her use of colour and light takes my breath away and though her work has been heavily criticised by some, I actually see it as beautiful beyond the candy colours, “bimbo” bodies, and prettiness. Pretty, sexy women have depth, sensitivity and internal lives of their own and perhaps I am only projecting, but I feel I see this in Yuskavage’s work. The conflict, the delicacy, the dark behind the light and the light behind the dark.
But perhaps I’m just a wanker.