Persimmon Tits
white, queer, feminist, record obsessed babe is a human pomeranian. i use tumblr as an escapist fantasy. (but nothing's ever that simple, is it?)
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herculeanluxe:


Maggie Nelson on Catherine Opie’s Self-Portrait/Pervert in The Art of Cruelty (2011)
"Her body squarely presents itself to us as bleeding, resilient, imperial, and desirous…Unlike Ono’s Cut Piece, Mendieta’s Rape Piece, or Abramovic’s Rhythm 0, Pervert is decidedly uninterested in what others might do to a passive female body. Opie’s self-portrait speaks to the opposite: it broadcasts what Opie’s body likes, what it wants—indeed, what is is: a pervert, stated brightly in flesh and blood. Its solidity, its composure, its reclamatory Pervert announcement, all say, The buck stops here.”

herculeanluxe:

Maggie Nelson on Catherine Opie’s Self-Portrait/Pervert in The Art of Cruelty (2011)

"Her body squarely presents itself to us as bleeding, resilient, imperial, and desirous…Unlike Ono’s Cut Piece, Mendieta’s Rape Piece, or Abramovic’s Rhythm 0, Pervert is decidedly uninterested in what others might do to a passive female body. Opie’s self-portrait speaks to the opposite: it broadcasts what Opie’s body likes, what it wants—indeed, what is is: a pervert, stated brightly in flesh and blood. Its solidity, its composure, its reclamatory Pervert announcement, all say, The buck stops here.”

frenchtwist:

via realityayslum:

Marta Maria Perez Bravo - Protection, 1990.

frenchtwist:

via realityayslum:

Marta Maria Perez Bravo - Protection, 1990.

latinamerican-worldfeminism:

Hannah Wilke
1974-1979

bobbycaputo:

Striking Photos of the Human Torso Stretched Out Like Canvas

Pennsylvania-based photographer June Yong Lee’s black-and-white composite photographs artfully take the human torso and flatten and spread it out so you can see at a glance how life marks the skin. They are occasions to consider the surface attributes that make a person a person, and they present our largest organ as a hide, reminding us that we are all just animals—and vulnerable ones at that. Lee’s photographs are striking in their ability to go from universal to personal, and from slightly creepy to sexy.

(Continue Reading)

guardian:

"One male friend said that I couldn’t do it because my husband’s business partners would see, and one asked how my sons would feel when they grow up [they are seven and nine]. But both arguments were about the men in my life, and I thought they weren’t reason enough to stop me as an artist, a woman and a feminist."

United front: breasts without the airbrush »

Photos: Laura Dodsworth

(Source: theguardian.com)

exam:

"The Breast Portrait Journal" by Clarity Haynes

toomanycreeps:

:)
makingandunmakingselves:

Fiona after breast surgery, NYC, 1991 by Nan Goldin Cibachrome print, 30 x 40 from I’ll Be Your Mirror

makingandunmakingselves:

Fiona after breast surgery, NYC, 1991 by Nan Goldin
Cibachrome print, 30 x 40
from I’ll Be Your Mirror

manufactoriel:

Zanele Muholi, Bra, 2003, silver gelatin print, 275 x 275mm

manufactoriel:

Zanele Muholi, Bra, 2003, silver gelatin print, 275 x 275mm

ladyfresh:

Untitled (Demoiselles series*), 2012 | Leonce Raphael Agbodjelou
"Born 1965, Porto Novo, Benin Agbodjelou is one of the pre-eminent photographers of the Republic of Benin, based in the capital Porto Novo. Trained by his father, the world-renowned photographer Joseph Moise Agbodjelou (1912-2000), he has since developed his own individual style in contemporary and innovative ways. His new Demoiselles series delves deeper into his on-going portraiture project entitled ‘Citizens of Porto Novo’. Using a daylight studio on location and shooting 6 x 9 medium format film, this new body of work focuses on the young female citizens of Leonce’s hometown. The grand old colonial house in these images has belonged to Leonce’s family for generations. It was built by the artist’s grandfather - a merchant who made a fortune selling lemonade to the French and Portuguese armies. The mansion was constructed in 1890 by Afro-Brazilian artisans under colonial rule. Benin’s Afro-Brazilian culture stems from the slave trade, a very important part of Benin’s history during which over 12 million slaves left the country’s ports. Today Porto-Novo feels like a city of the past, loaded with faded grandeur and dilapidated interiors. These Portuguese styled colonial buildings tell a visual narrative of Africa and its colonization. Timeless in their construction, the ‘Demoiselles de Porto Novo’ images are both historic and modern. The girls are often bare breasted as traditional village life dictates, wearing ceremonial or Vodun masks. The interiors, with intricate carved woodwork and peeling paint, are alive with the ghosts of the past. Many of the images include old framed portraits of Leonce’s grandfather. The series also raises questions about religious practice in West Africa; one image combines a bare breasted Engungun masked female with a Pentecostal calendar in the background. Leonce’s new work is deeply personal, focusing on Porto Novo, its citizens, a complex history and an unknown future.  Leonce is the founder and director of the first photographic school in Benin and has recently been appointed president of the Photographer’s Association of Porto-Novo. Leonce’s work has been exhibited at the Saatchi Gallery, London, and collected by the CAAC Pigozzi Collection, Geneva, and Pitt Rivers Museum, Oxford, among others. Works will be exhibited in the upcoming exhibition ‘Betwixt and Between: Contemporary African Photography’ at the Kelvingrove Art Gallery and Museum, Glasgow.”
*Demoiselles de Porto Novo

ladyfresh:

Untitled (Demoiselles series*), 2012 | Leonce Raphael Agbodjelou

"Born 1965, Porto Novo, Benin

Agbodjelou is one of the pre-eminent photographers of the Republic of Benin, based in the capital Porto Novo. Trained by his father, the world-renowned photographer Joseph Moise Agbodjelou (1912-2000), he has since developed his own individual style in contemporary and innovative ways. His new Demoiselles series delves deeper into his on-going portraiture project entitled ‘Citizens of Porto Novo’. Using a daylight studio on location and shooting 6 x 9 medium format film, this new body of work focuses on the young female citizens of Leonce’s hometown.

The grand old colonial house in these images has belonged to Leonce’s family for generations. It was built by the artist’s grandfather - a merchant who made a fortune selling lemonade to the French and Portuguese armies. The mansion was constructed in 1890 by Afro-Brazilian artisans under colonial rule. Benin’s Afro-Brazilian culture stems from the slave trade, a very important part of Benin’s history during which over 12 million slaves left the country’s ports. Today Porto-Novo feels like a city of the past, loaded with faded grandeur and dilapidated interiors. These Portuguese styled colonial buildings tell a visual narrative of Africa and its colonization.

Timeless in their construction, the ‘Demoiselles de Porto Novo’ images are both historic and modern. The girls are often bare breasted as traditional village life dictates, wearing ceremonial or Vodun masks. The interiors, with intricate carved woodwork and peeling paint, are alive with the ghosts of the past. Many of the images include old framed portraits of Leonce’s grandfather. The series also raises questions about religious practice in West Africa; one image combines a bare breasted Engungun masked female with a Pentecostal calendar in the background. Leonce’s new work is deeply personal, focusing on Porto Novo, its citizens, a complex history and an unknown future.

Leonce is the founder and director of the first photographic school in Benin and has recently been appointed president of the Photographer’s Association of Porto-Novo. Leonce’s work has been exhibited at the Saatchi Gallery, London, and collected by the CAAC Pigozzi Collection, Geneva, and Pitt Rivers Museum, Oxford, among others. Works will be exhibited in the upcoming exhibition ‘Betwixt and Between: Contemporary African Photography’ at the Kelvingrove Art Gallery and Museum, Glasgow.”

*Demoiselles de Porto Novo

(Source: babydave7)