“I was a lesbian for a while, you know, but it was all a bit too wet for me in the end. Men are so lovely and dry.”
Kyle Thomas Hemingway: The ephemera edit
An ongoing digital archive of 1,376 items (and counting) proving that I read, I saw, and I actually paid attention.
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“Without ugliness, without imperfection, beauty spins frictionless; it gains no purchase on the world. Real, unabashed ugliness should be celebrated. One aspires to be beautiful, and one desires lovely things. But ugliness is the stuff of life.”
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“Insecure people are very dangerous, aren’t they? I’m secure. Make sure you put that in there.”
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Curtain call at A Christmas Carol -
“That day, we started the conversation that eventually led to the very personal essay Meyer has contributed to this issue of BLAU International. Recounting a brief history of a phenomenon he’s coined the ‘Gay Man’s Castle,’ Meyer insists on the transformative power of personal taste. He shows us how the homes of creatives, how their collections, how even the ceilings above their deathbeds can narrate histories of repression and liberation alike. And how paying tribute to the men who build those ‘castles’ far too often means remembering those we’ve lost. If you ever meet Meyer, you might thank him for this. But never, ever bring up Wuppertal. It will surely harsh his vibe.”
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“I’m not bad. I’m just drawn that way.”
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“You obviously require a battle plan. My second husband, the general, always advocated attacking from the rear, which, although it did nothing to enhance our marriage, did bring him some success on the field.
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The ensemble takes a bow -
Curtain call at The Band’s Visit -
“It’s always wonderful when something altogether wrong ends right, without the help of either religion or the police.”
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Curtain call at Elvis: A Musical Revolution -
“It was a cold and rainy day in March. I went to Cristophe’s where I usually get my hair done, but Cristophe wasn’t there. He had mysteriously disappeared. In his place was a stranger named Rinaldo. I’ll never forget him. His eyes were steely gray. His hands were like ice. He said, ‘I’ll streak your hair and I’ll give you a body wave.’ He worked very fast and then, as he turned my chair around to face the mirror, I saw it. He permed me!”
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Julie Mehretu, Congress, 2003 -
Chris Burden, Transfixed, 1974 -
Costume from Serial Mom -
Chris Burden, Urban Light, 2008 -
“Both the Parthenon and Cinderella Castle try to physicalise myths, a means of building legacy that manifests as a fairytale and influences our perspectives of reality. It’s rare to find these kinds of wild optical manipulations employed in contemporary buildings, but it’s all too easy to see a similar desire to push a narrative through colossal and eye-catching buildings.”
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Anders Zorn, Isabella Stewart Gardner in Venice, 1894
