Judas Iscariot

125,960 notes

Soo Sunny Park (b. Seoul, Korea) - Unwoven Light at Rice University’s Rice Gallery in Houston, Texas. Composed of 37 individual sculptural units, the installation uses iridescent plexi-glass embedded in pieces of a chain link fence to cast shimmering, colorful reflections across the spacious gallery. 

(Source: Flickr / walleyfilms, via showslow)

144 notes

Try to find pleasure in a speed that you’re not used to. Changing the way you do routine things allows a new person to grow inside of you. But when all is said and done, you’re the one who must decide how you handle it.
Paulo Coelho, The Pilgrimage (via misswallflower)

12,563 notes

my sister:
oh my god
me:
what?
my sister:
i just realized something
me:
?
my sister:
gaston is a nice guy.
me:
...? um, no, sorry, he's an asshole.
my sister:
no, no, no, gaston is a 'nice guy'. think about it. he spends the whole beginning of the movie trying to be friendly to belle. everyone else in that town thinks she's a bookish freak with a crazy man for a father, but gaston like, talks to her and sort of tries to take an interest in her activities and compliments her and stuff with the complete 100% expectation that she's going to pay him back by being in a relationship with him. he tunes out what she actually says because he doesn't really think of her as a person, just a pretty trophy who should react to him the right way if he does the right things.
me:
huh
my sister:
and then when she hooks up with someone else, he gets all angry and shouty and insists that this other guy is a monster and she's lost her damn mind because she was supposed to fall for HIM, not someone else, and then he goes and stirs up the townsfolk into an angry mob and turns the whole thing into a witch hunt over his wounded pride.
me:
O_O
my sister:
gaston is a nice guy.

18,126 notes

The concern for overly exposed young bodies may be well-intentioned. With society fetishizing girls at younger and younger ages, girls are instructed to self-objectify and see themselves as sexual objects, something to be looked at. A laundry list of problems can come from obsessing over one’s appearance: eating disorders, depression, low self-worth. Who wouldn’t want to spare her daughter from these struggles?

But these dress codes fall short of being legitimately helpful. What we fail to consider when enforcing restrictions on skirt-length and the tightness of pants is the girls themselves—not just their clothes, but their thoughts, emotions, budding sexuality and self-image.

Instead, these restrictions are executed with distracted boys in mind, casting girls as inherent sexual threats needing to be tamed. Dress restrictions in schools contribute to the very problem they aim to solve: the objectification of young girls. When you tell a girl what to wear (or force her to cover up with an oversized T-shirt), you control her body. When you control a girl’s body—even if it is ostensibly for her “own good”—you take away her agency. You tell her that her body is not her own.

When you deem a girl’s dress “inappropriate,” you’re also telling her, “Because your body may distract boys, your body is inappropriate. Cover it up.” You recontextualize her body; she now exists through the male gaze.

What Do Dress Codes Say About Girls’ Bodies? (via becauseiamawoman)

(via ojitos-tristes)

2,641 notes

medievalpoc:

Contemporary Art Week!

Kehinde Wiley

Los Angeles native and New York-based visual artist Kehinde Wiley has firmly situated himself within art history’s portrait painting tradition. As a contemporary descendent of a long line of portraitists—including Reynolds, Gainsborough, Titian, Ingres, and others—Wiley engages the signs and visual rhetoric of the heroic, powerful, majestic, and sublime in his representation of urban black and brown men found throughout the world.

By applying the visual vocabulary and conventions of glorification, wealth, prestige, and history to subject matter drawn from the urban fabric, Wiley makes his subjects and their stylistic references juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his imagery. Wiley’s larger-than-life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men.

-skny.com

1. Down With a Bullet, 2011., 2. Femme Piquee par un Serpent, 2008, oil on canvas. 3. Matador, 2009. Oil on paper 57.5” x 134.5”., 4. Sleep, 2008. Oil on canvas 132” x 300”.

(via cavetocanvas)