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Permalink felixinclusis: escapeintolife: Aaron Wexler | Escape Into Life #art #collage 
Permalink Ma poupée japonaise by Mario Ambrosius
Permalink minusculus: La Luna de Madrid, revista
Permalink viamort: 1/183 (by Louis Lander-Deacon)
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Permalink fullerart: La Femme de Montmartre This one has its origins in a faded Belle Epoch post card that must have seemed shocking at the time, but not because of the very discreet nudity: It’s the cigarette that would have raised eyebrows.  I like the lady’s squint of suspicion (not present in the original) as she notes our arrival and seeks to determine whether we mean to cause trouble. Let’s not, all right?
Permalink art-or-porn: 80 days of lust, by Soraya Lynsada Superba Suggestione Porno Pop.Il tattile. La mucosa. Il colore. L’estasi. La perversa. La bocca. La rosa. In sequenza. Loop degno di un ipnotizzatore. Spicchi di desiderio in byte. Fasulli e quindi necessari elementi di calore Francesca Mazzucato Francesca Mazzucato
Permalink museumuesum: MARCEL DUCHAMP Cigarette, 1936 Gelatin silver print30.0 x 20.7 cm Without its paper wrapper, Duchamp’s cigarette becomes something else entirely-a potent signifier of sexuality stripped bare; a naked assemblage of chance in which the liberated tobacco rejoices in disarray. It may also represent a visual pun on the term découpage, which literally means “cutting out” but is more broadly defined as a mixing of elements-for instance, the text and images in George Hugnet’s book of poemes-découpages for which Duchamp created this image. In the book, a page of text and symbols in different typefaces is juxtaposed with pasted images and scraps of text from other printed media. Poetry and collage work together-or against each other-to simultaneously create and undermine meaning through a seemingly random grouping of disparate elements.
Permalink phillipsdepury: Jean-Michel Basquiat’s Overrun, 1985 sold for £1,127,650 at the Contemporary Art Evening Sale, 17 February 2011, London. In a manner similar to the French painter Jean Dubuffet, Overrun’s heavily vertical format and its five black window frames at the top are suggestive of a vibrant urban landscape. Basquiat was greatly influenced by the high-rise skyscrapers of his native New York City and continuously referenced it. His teenage years spent as a wandering homeless artist, during which time he tagged mysterious and witty statements under the pseudonym SAMO, left a lasting impression. Art historians have long drawn comparisons with Jean Dubuffet’s childlike and naïve style and his lack of interest in rationally coherent compositions with a central perspective – a comparison most striking when comparing Dubuffet’s series Views of Paris with Overrun. Like Basquiat, Dubuffet made graffiti the central motif of his art.Another important feature to be seen here, and which can be seen elsewhere in Basquiat’s output, is the use of language, in the form of consciously child-like scribbles and cryptic writings. While painting in the basement of Annina Nosei’s gallery, Basquiat had a book open to pages illustrating Twombly’s large, lyrical compositions which incorporate text and image. While recalling similar inscriptions in the works of Jean Dubuffet and Cy Twombly, Basquiat’s words, whether crossed out, repeated, or naively spelled, signify both the urgency and power with which he could communicate through his art. Paradoxically, this was an ability he so cruelly lacked in the real world so it is all the more affecting when seen in his paintings.