Another Silent Picture Show
another silent picture show
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gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
gravesandghouls:

Creepy Halloween costumes c. 1930s-1960s
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Yes!
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likeafieldmouse:

Tracey Emin - Exorcism of the Last Painting I Ever Made (1996)
“Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.”
likeafieldmouse:

Tracey Emin - Exorcism of the Last Painting I Ever Made (1996)
“Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.”
likeafieldmouse:

Tracey Emin - Exorcism of the Last Painting I Ever Made (1996)
“Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.”
likeafieldmouse:

Tracey Emin - Exorcism of the Last Painting I Ever Made (1996)
“Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.”
likeafieldmouse:

Tracey Emin - Exorcism of the Last Painting I Ever Made (1996)
“Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.”
likeafieldmouse:

Tracey Emin - Exorcism of the Last Painting I Ever Made (1996)
“Tracey Emin lived in a locked room in a gallery for fourteen days, with nothing but a lot of empty canvases and art materials, in an attempt to reconcile herself with paintings. Viewed through a series of wide-angle lenses embedded in the walls, Emin could be watched, stark naked, shaking off her painting demons. Starting by making images like the artists she admired (i.e. Egon Schiele, Edvard Munch, Yves Klein), Emin’s two-week art-therapy session resulted in a massive outpouring of autobiographical images, and the discovery of a style all her own. The room was extracted in its entirety, and now exists as an installation work.”
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"I always prefer to work in the studio. It isolates people from their environment. They become in a sense … symbolic of themselves. I often feel that people come to me to be photographed, as they would go to a doctor or a fortune teller - to find out how they are.
- Richard Avedon"
(via marklaubenheimer)
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Moonlit Beauties (detail) by Luis Ricardo Falero (1851-1896)
oil on canvas, date unknown 
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Showgirls at Columbia Pictures, 1959.
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Betty Boop’s Life Guard (1934)