decathexis

brain detritus.
Allie D’Andrade 2011

Allie D’Andrade 2011

asbury park circa 1947.
thank you, internet.

asbury park circa 1947.

thank you, internet.

allie d’andrade, live life suddenly and without consequence 3, 2008

allie d’andrade, live life suddenly and without consequence 3, 2008

apparition of the skyline
allie d’andrade
enamel and oil

apparition of the skyline

allie d’andrade

enamel and oil

darkness on the edge of town,
allie d’andrade
oil

darkness on the edge of town,

allie d’andrade

oil

100artistsbook:

Though I NEVER post overtly erotic art, This particular image is so artful and creative, I have included it. 

100artistsbook:

Though I NEVER post overtly erotic art, This particular image is so artful and creative, I have included it. 

boxforstanding:

Imponderabilia
At the opening of an exhibition in June 1977 at the Museum of the Galleria   d’Arte Moderna Bologna, Abramovic/Ulay stood naked at the entrance opposite each   other in such a way that the people streaming in had to squeeze singly through   the gap between the two, unable to avoid physical contact. The crucial factor   was that everybody had to decide whom to look at as they passed. In this performance, they   are forming a physical frame, confronting the involuntary participants passing   through the “birth canal” with the experience of touch, the decision which side   to face, and exposing them all to an unfamiliar bodily sensation between shame   and an awareness of their own bodies, and to close physical contact with another   human being which is generally considered disturbing between strangers. The gap   between the two protagonists constitutes the actual performance space in which   the viewer plays an active part. It is fitting that this action is placed in a   museum where people go as spectators, learning at the very entrance that they   are involved themselves.

boxforstanding:

Imponderabilia

At the opening of an exhibition in June 1977 at the Museum of the Galleria d’Arte Moderna Bologna, Abramovic/Ulay stood naked at the entrance opposite each other in such a way that the people streaming in had to squeeze singly through the gap between the two, unable to avoid physical contact. The crucial factor was that everybody had to decide whom to look at as they passed. In this performance, they are forming a physical frame, confronting the involuntary participants passing through the “birth canal” with the experience of touch, the decision which side to face, and exposing them all to an unfamiliar bodily sensation between shame and an awareness of their own bodies, and to close physical contact with another human being which is generally considered disturbing between strangers. The gap between the two protagonists constitutes the actual performance space in which the viewer plays an active part. It is fitting that this action is placed in a museum where people go as spectators, learning at the very entrance that they are involved themselves.

eventually i’ll have the sense and time to take better resolution images…. sorry about the horrible bottom shelf cell phone pictures….i need to get a new battery for my digital rebel, lol zines are 5$ battery is 30$….6 zines= new camera battery!!! :)

eventually i’ll have the sense and time to take better resolution images…. sorry about the horrible bottom shelf cell phone pictures….i need to get a new battery for my digital rebel, lol zines are 5$ battery is 30$….6 zines= new camera battery!!! :)

‘the nip-slip’…. too bad i was too drunk to write legibly… it reads ‘no one is laughing WITH you’. <3

‘the nip-slip’…. too bad i was too drunk to write legibly… it reads ‘no one is laughing WITH you’. <3