generalelective

Latest Posts by generalelective

Mamma Andersson (Swedish, b. 1962), Hypnos/Hypnosis, 2021. Oil and acrylic on canvas, 118 x 90 cm.

vibes

https://www.instagram.com/p/BRVJiBOj130

Late Afternoon Sun, Machu Picchu, Peru

Hoyeon on what Squid Game taught her about life i-D The Out Of Body Issue, no. 367, Spring 2022 Photography Colin Dodgson

Cy Twombly, ‘Wilder Shores of Love’, oil paint, house paint, paint stick, coloured pencil, pencil on panel, 1985

Gregory dances. I don’t think I’ve ever seen him experience joy before. It’s weird.

Jan De Vliegher (Belgian, b. 1964), Yellow interior (Hofburg), 2013. Oil on canvas, 200 x 300 cm.

Silviu & Irina Székely

two trees make a forest as an inoculation against loneliness,

Shelly Wong, from “The Winter Forecast,” The New England Review (vol. 42, no. 4, 2021)

@wohsbaby

walking is still honest by against me! / photo source

click for better quality (my instagram)

[image ID: in the middle of the photo, a barn is on fire. a person is walking past through a field. the photo is weathered with film grain and other similar textures. in pale yellow text, in a hazy font are the words "dear mother, this is just survival". /End ID]

© Ida Pimenoff

Untitled, from the series "A Shadow at the Edge of Every Moment of the Day", 2010

Paul Klee, Gesetz, 1938

Untitled (Melting Snow), Stamford, CT, 2 5 22, Photo by Joe Bruha, Copyright 2022

The Black Cat, East Los Angeles, Photo by John Humble, 1982

Madewell Brushed Herringbone Jacquard Tie-Waist Tapered Pants

Ugh I just love monochromatic layers. The textures!!

Maria Stanley Musa Top in Sage.

Naturally dyed using Madder + Pomegranate + Iron Earth.

Kazimierz Sichulski (Polish, 1879-1942), Białe maki [White Poppies], 1920. Watercolour, mixed media, and pastel on paper, 80 x 62 cm.

Anna Marie Tendler for Harper’s Bazaar, January 2022.

Shot by Lorenz Schmidl. Carolina Herrera mini dress; jewelry her own.

Ciao Lucia Umbria Dress.

100% cotton. Made in Los Angeles.

Princess Diaries (2001)

Michael’s M&M keyboard in the auto shop :)

des, chicago 2013

“La skyline, the morning after Christmas storm, 2021 (Photo by Gary Blasi)” via Victor Narro @NarroVictor on Twitter.

Dec 29, 2021

Ganni x A Good Company Phone Case

Made of plant-based byproduct from organic flaxseed farming.

Andrew Garfield as Jonathan Larson tick, tick…BOOM! (2021)

When women writers of my generation speak in awed tones of Didion’s “style,” I don’t think it’s the shift dresses or the sunglasses, the cigarettes or commas or even the em dashes that we revere, even though all those things were fabulous. It was the authority. The authority of tone. There is much in Didion one might disagree with personally, politically, aesthetically. I will never love the Doors. But I remain grateful for the day I picked up “Slouching Towards Bethlehem” and realized that a woman could speak without hedging her bets, without hemming and hawing, without making nice, without poeticisms, without sounding pleasant or sweet, without deference, and even without doubt. It must be hard for a young woman today to imagine the sheer scope of things that women of my generation feared women couldn’t do—but, believe me, writing with authority was one of them. You wanted to believe it. You needed proof. And not Victorian proof. Didion—like her contemporary Toni Morrison—became Exhibit A. Uniquely, she could be kept upon your person, like a flick knife, stuffed in a back pocket, the books being so slim and portable. She gave you confidence. Shored you up.

—Zadie Smith on Joan Didion

https://www.newyorker.com/culture/postscript/joan-didion-and-the-opposite-of-magical-thinking

Untitled (Fashion photograph) Photo by Dora Maar, c. 1935

The Paris Review, Winter 2021

Cover art: Rose Wylie

A Hole To See The Sky Through, Yoko Ono 1971