Beyoncé & Solange at 2014 Coachella Valley Music & Arts Festival (April 12th, 2014)
Between the Lines | Photographs and text by K.K. DePaul
In 1929, my grandfather was hanged for murder.
It was a taboo subject in our family, and out of respect for my grandmother, nobody ever spoke of it. We believed that because my grandfather had been convicted on circumstantial evidence, he had been convicted wrongly.
After my grandmother’s death, I came into possession of a box she left for me. Contained within were all my grandfather’s personal effects during his year on death-row…newspapers, magazine articles about the trial, letters from lawyers, family members, and friends. It became quite clear, as I read between the lines…that he was guilty…that my grandmother knew it…and that after her death, she wanted me to know it, too.
Fake it ’til you become it: How your body language shapes who you are
In a talk at TEDGlobal 2012, social psychologist Amy Cuddy offered a free, low-tech lifehack: assume a posture for just two minutes — and change your life.
Above, designers from the Brazilian magazine Superinteressante illustrated some of the points Cuddy makes about body language (You can see the image in all its wonderful detail here.) and its impact on how we feel. Take a look … and stand up straight.
why do people get so mad about puns? they’re literally the nicest kind of humor. they make nobody feel bad. it’s just clever. sometimes it’s original. learn to like puns. don’t let society run your life
"I wouldn’t let him pull my hair."
Submitted By: Deena C.
Location: Alberta, Canada
Arshile Gorky - Nighttime, Enigma and Nostalgia
"Between 1931 and 1934, Gorky made a series of more than eighty drawings and two paintings that he titled Nighttime, Enigma and Nostalgia. The inspiration for this important body of work came from Giorgio de Chirico’s 1914 painting The Fatal Temple [last image of the above set].
De Chirico’s mysterious painting, with its suggestion of the joy and suffering of the mother-and-son relationship, must have resonated with Gorky, who had by this time begun two important works on the theme of the artist and his mother.
With its interlocking shapes, shallow, Cubist-derived space, and compartmentalized imagery, the series represents a distinct departure from Gorky’s earlier experiments with the techniques and motifs of Cézanne and other modern masters.
Nighttime, Enigma and Nostalgia moved farther and farther from De Chirico’s work as it progressed, to the point where the two paintings on the theme can be considered among the most original of Gorky’s early accomplishments.”
In Rituals, the photographer Noorann Matties catalogs the strange, mystical moments between woman and mirror, capturing young ladies in private moments of self-preparation and styling. As her subjects stand barefaced before public and private mirrors, work in eyebrow pencil, lipgloss, and mascara, seemingly memorized by and in poignant discovery of their own features.
Shooting many of the women from behind so as to capture the self in dialogue her reflection, Matties seemingly preserves the innocence of the experience, allowing the girls to engage with themselves undisturbed and unaware of onlookers. These sacred rituals, haloed in early morning sunlight and fluorescent lightbulbs, celebrate the quiet moments before the start of the day. In the instant before her subjects present their faces to the public, Matties stops the clock, preserving the beautiful self-absorption afforded by secrecy.