#catliner

[artifexsilence]

SKIN FAIR- R.BENTO

CREDITS Lelutka| AValontres beau| natasha skintram| F603 hair *RBento| CatLiner 1 @ SKIN FAIR 2023*RBento| CatLiner 2 @ SKIN FAIR 2023 TAGSSKIN FAIR, LELUTKA, tres Beau, Tram, RBento, Catliner

View On WordPress

#Catliner #Lelutka #RBento #Skin Fair #tram #Tres Beau

[random-brushstrokes]

George Catlin - Portraits of a Grizzly Bear (1846-48)

#george catlin #american art #animals in art #1840s

[lionofchaeronea]

Weapons and Physiognomy of the Grizzly Bear, George Catlin, 1846-48

#art #art history #George Catlin #genre painting #genre art #animal study #bears #grizzly bear #animals in art #American art #Western art #19th century art #oil on canvas #Smithsonian American Art Museum

[bitchtoss]

Björk photographed by Andrew Catlin, 1991

#Bjork #Björk #Andrew Catlin #x

[exposedandbare]

[undergroundrockpress]

Shane MacGowan. Photo : Andrew Catlin.

#rock photography #Shane MacGowan #Andrew Catlin #punk rock #rip

[leatherandmossprints]

‘Mah-tó-he-ha, Old Bear, a Medicine Man’ by George Catlin, c. 1832.

#George Catlin #vintage art #classic art #art #art history #old art #art details #vintage #painting #moody art #oil painting #portrait painting

[oncanvas]

Elk and Buffalo Grazing among Prairie Flowers, Texas, George Catlin, 1846-48

Oil on canvas 19 ⅝ x 27 ½ in. (49.7 x 70 cm) Smithsonian American Art Museum, Washington, DC, USA

#art #painting #george catlin #1840s #19th century #19th century art #animals #wildlife #elf #buffalo #texas #landscape #prairie #smithsonian american art museum #american #oil

[recka24]

#andy catlin #daniel lebang

[xiaojuun]

BAGGY JEANS (2023) NCT U

#nct #nctinc #nct u #useroro #marekwan #ninqztual #eritual #tuseral #namjoonlisa #dearestmillie #rhitag #aleksbestie #userbexrex #higabi #erigifs #eri.nct #made this entire set for the last 3 gifs if we're being honest #catliner cotton candy tyong u are everything to ME

[soupy-sez]

Beastie Boys, 1987, © Andrew Catlin

#beastie boys #dj hurricane #ad rock #mca #mike d #andrew catlin #80s #1980s #music #musicians #pics #soupy's

[antichrstar]

#peter murphy #bauhaus #andrew catlin

[bitchtoss]

Sinéad O’Connor photographed by Andrew Catlin, 1988

#Sinead O'Connor #Andrew Catlin #x

[bemybaebaebae]

Daniel

#andy catlin

[lionofchaeronea]

Ni-a-có-mo, Fix With the Foot, a Brave, George Catlin, 1830

#art #art history #George Catlin #portrait #portrait painting #Native American #American Indian #indigenous peoples #American art #19th century art #oil on canvas #Smithsonian American Art Museum

[power-chords]

As soon as the discourse of the campus becomes a libidinally fraught fantasy about children to whom something might happen, we find ourselves on the theoretical terrain mapped by the Lacanian theorist Lee Edelman two decades ago in No Future: Queer Theory and the Death Drive (2004). As I have previously argued in this magazine, in the discourse of the campus the student turns out to be a type of the Child—the organizing trope of the heterosexist ideology Edelman calls “reproductive futurism.” Reproductive futurism is, among other things, an ideology of security: the sacrosanct Child, “the telos of social order, …the one for whom that order is held in perpetual trust,” must be protected at any cost; the naturalness of heterosexuality and the gender binary must never be questioned. Katehi’s narration of the primal fantasy of the campus exhibits reproductive futurism at its most histrionic. In the imagined body of the “very young girl,” collective anxieties about the Child and about social reproduction—always raced; note, again, the specter of miscegenation hanging over the narrative—are given pornographic form.

And then thought stops abruptly: whenever there is a risk that something might happen to the Child, the time for thinking is over. It is time for action, reaction. Time to call the police. That actual UC Davis students, engaged in an act of passive resistance, were hurt as a result of this frenzy to protect the “very young girls” of UC Davis belies the phantasmatic status of the latter.

Viewed through the lens of Edelman’s argument in No Future, the fantasy of the campus appears as an allegory of the nation-state. The future of the nation itself is taken to be at stake in what happens “on campus.” Both nation and campus are supposed to be securely bounded, to keep safe the Child; in both cases, this safety proves impossible to guarantee, and this ineluctable exposure—to violence, to liability, to non-affiliates—spikes the panic. When there is “campus unrest,” panic flares because the campus is supposed to be where unrest does not happen, where the Child is safe from reality. Panic nudges both campus and nation toward ever more extreme, ever more militarized practices, aesthetics finally subordinated to terror. Borders, checkpoints. An especially shrill Columbia Business School professor has taken to demanding, on any media platform he can access, that students who chant “Free Palestine!” should be expelled and banned from the Columbia campus.

The Child must be defended. So, enemies must be banished. So, a camera must be installed. So, a wall must be built. But let it be covered in ivy!

—Samuel P. Catlin, "The Campus Does Not Exist: How campus war is made," Parapraxis Magazine. Emphasis mine.

#samuel catlin is BRILLIANT and I love him #samuel p. catlin #lee edelman