Fabrik

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“To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort

November 16–February 10, 2019 J. Paul Getty Museum, Getty Center   I know Sally Mann’s work from her 1988 exhibition At Twelve: Portraits of Young Women. Those sweet and beguiling nude images of her young children

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“To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort

November 16–February 10, 2019 J. Paul Getty Museum, Getty Center   I know Sally Mann’s work from her 1988 exhibition At Twelve: Portraits of Young Women. Those sweet and beguiling nude images of her young children

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“To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort

November 16–February 10, 2019 J. Paul Getty Museum, Getty Center   I know Sally Mann’s work from her 1988 exhibition At Twelve: Portraits of Young Women. Those sweet and beguiling nude images of her young children

No posts were found.

“To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort

November 16–February 10, 2019 J. Paul Getty Museum, Getty Center   I know Sally Mann’s work from her 1988 exhibition At Twelve: Portraits of Young Women. Those sweet and beguiling nude images of her young children

There is a big difference between writing for the printed page and the speaking voice, as any playwright, poet or orator will tell you. In one the eye scans the totality

The goal of all inanimate objects is to resist man and ultimately defeat him. --- Russell Baker   Nobody writes love songs anymore. Nor are great contemporary love stories the subject of films.

Two Boys On A Beach, 1938 Paul Cadmus October 13th – November 17th, 2018   John Wolf''s magical juxtaposition of a secret art exhibition embedded into one of Los Angeles' most erotic collections, adds nuanced context