Dirty Librarian Thoughts

QUEER CONSUMPTION OF ART, VISUAL CULTURE, & RAMBLINGS OF MY LIFE

For us, eating and being eaten belong to the terrible secret of love. We love only the person we can eat. The person we hate we ‘can’t swallow.’ That one makes us vomit. Even our friends are inedible. If we were asked to dig into our friend’s flesh we would be disgusted. The person we love we dream only of eating. That is, we slide down that razor’s edge of ambivalence. The story of torment itself is a very beautiful one. Because loving is wanting and being able to eat up and yet to stop at the boundary. And there, at the tiniest beat between springing and stopping, in rushes fear. The spring is already in mid-air. The heart stops. The heart takes off again. Everything in love is oriented towards this absorption. At the same time real love is a don’t-touch, yet still an almost-touching. Tact itself: a phantom touching. Eat me up, my love, or else I’m going to eat you up. Fear of eating, fear of the edible, fear on the part of the one of them who feels loved, desired, who wants to be loved, desired, who desires to be desired, who knows there is no greater proof of love than the other’s appetite, who is dying to be eaten up, who says or doesn’t say, but who signifies: I beg you, eat me up. Want me down to the marrow. And yet manage it so as to keep me alive. But I often turn about or compromise, because I know that you won’t eat me up, in the end, and I urge you: bite me. Sign my death with your teeth.

—Helene Cixous, “The Love of the Wolf” (via fleurishes)

grupaok:

Dan Flavin, Untitled (For Elizabeth and Richard Koshalek), 1971 — installation view, Works for New Spaces, Walker Art Center, 1971

grupaok:

Dan Flavin, Untitled (For Elizabeth and Richard Koshalek), 1971 — installation view, Works for New Spaces, Walker Art Center, 1971

(Source: blogs.walkerart.org)

textture:

JULIA KRISTEVA - MERYL STREEP
HELENE CIXOUS - FAYE DUNAWAY

textture:

JULIA KRISTEVA - MERYL STREEP

HELENE CIXOUS - FAYE DUNAWAY

maarnayeri:

Iraqi student Zeidoun Alkinani protesting the posession of ancient Iraqi artifacts by Germans at the Babylonian Ishtar Gate in the Pergamon Museum of Berlin.
Prior to World War I, German archaeologists excavated large numbers of ancient artifacts across what is today Iraq and shipped them to Germany as part of a larger phenomenon of cultural pillage by European archaeologists across the Middle East that continued for decades.
In 2002, Iraqi officials asked for the return of the Gate, to no avail. A year later, the U.S. invaded the country.
via The Ajam Media Collective

maarnayeri:

Iraqi student Zeidoun Alkinani protesting the posession of ancient Iraqi artifacts by Germans at the Babylonian Ishtar Gate in the Pergamon Museum of Berlin.

Prior to World War I, German archaeologists excavated large numbers of ancient artifacts across what is today Iraq and shipped them to Germany as part of a larger phenomenon of cultural pillage by European archaeologists across the Middle East that continued for decades.

In 2002, Iraqi officials asked for the return of the Gate, to no avail. A year later, the U.S. invaded the country.

via The Ajam Media Collective

(via artemariposa)

  • Gay man: "I hate how white girls accessorize gay men."
  • Gay man: *Accessorizes black women*
Time Noble & Sue Webster, Wedding Cake, 2008.

Time Noble & Sue Webster, Wedding Cake, 2008.