Designed in the late 1940s by Charles Eames and Eero Saarinen, Case Study House #9 was built in the Pacific Palisades next door to the Eames House on a bluff overlooking the Pacific Ocean. The interiors of the steel-frame house featured concrete flooring, wood-paneled ceilings, and multiple levels in an open floor plan. The house was commissioned by John Entenza, the editor of California Arts and Architecture Magazine, the publication that sponsored the multi-year Case Study Houses project. (Photo: Julius Shulman, 1950; © J. Paul Getty Trust. Getty Research Institute, Los Angeles) Photo restoration by Modernist Collection.
Robert Lebeck, New York, 1967.
Boulders penetrate this home's glass walls and merge with a "floating" fireplace in this 1956 design for an architect's own family. In Palm Springs, California, E. Stewart Williams became well-known for integrating the desert's natural materials with Modernist, open-plan houses, and even built a home for Frank Sinatra. (Photo: Julius Shulman, 1960; © J. Paul Getty Trust. Getty Research Institute, Los Angeles) Photo restoration by Modernist Collection.
Caterpillars ate my leaves aways
“[…] women have an affinity for horror, they always have.” Soraya Roberts
“The Linda Williams essay serves as a bridge from Laura Mulvey to Clover by positioning the woman not only or just a victim, but as a symbiotic double for the monster (monster/woman as ‘different,’ ‘freak,’ object-to-be-looked-at, victimized, etc.). Which harks back to the early horror film classics where the monsters were sympathetic figures (wolfman, Frankenstein’s monster, Dracula, King Kong, the Mummy, etc), unlike the demonized and psychologically disturbed human monsters of the modern era. The “otherness” of so many classic horror movie monsters could be seen as metaphoric explorations of different forms of ‘difference.’” Donato Totaro
“Just as these movies and stories can provide a venue for us to talk about how we feel victimized, they can also provide a way for us to walk backward into our own scary parts.” Sady Doyle
Carrie, Thomasin, Jennifer, Ginger
“We all want to be the final girl”: Sady Doyle on true crime, slasher films and surviving patriarchy
FEMINIST HORROR PLOTS AGAINST PATRIARACHY
Horror Lives in the Body
On the Haunted Lives of Girls and Women
btw you will miss this in 5 or 10 years. memory will smooth these circumstances down like a river stone, and you will find yourself longing for a shade of light or a moment of this particular innocence. you don't know about what happens next, and one day that will be the most alluring thing of all. don't leave it all for nostalgia. have a nice night now, whatever night it happens to be.
Discount Universe Spring 2019 Ready-to-Wear
Chambres Pour Enfants (2004)