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buzzerbetsi.bsky.social

@buzzerbetsi.bsky.social

215 followers 372 following 111 posts

20s, I like and repost furry porn so watch out.

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buzzerbetsi.bsky.social @buzzerbetsi.bsky.social · 08/09/2026

In all three senses of the word…

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buzzerbetsi.bsky.social @buzzerbetsi.bsky.social · 31/08/2026

This is nothing. Get some more Ivan Albright into the training mix and show the world they’ll Never be ready for DLSS 6.

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buzzerbetsi.bsky.social @buzzerbetsi.bsky.social · 27/06/2026

wiggly-hipped, big butt femboi wolf beta with a embarrassingly stubby tail that waggles uncontrollably when someone calls him a good girl

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buzzerbetsi.bsky.social @buzzerbetsi.bsky.social · 23/05/2026

However, figurative painting quickly was even further outpaced, see Betty, and competed with neo expressionism, Basquiat, and Germans like Anselm Kiefer, or other Postmodern artists, see John Currin. Movies & TV may focus more on sunny locations/specific times of day, moving against 3/

Betty, Gerard Richter, 1992, oil on canvas.

Confused for a photograph, this painting is very well rendered, so much so that art critics noticed that it has the visual artifacts of a camera being used as reference, not from a live model. With the figure turning away from the viewer, it can be interpreted that painting has moved was from being the ultimate authority of images; that the artist is turning back from painting as the ultimate way to capture reality.

Jean-Michel Basquiat
Hollywood Africans
1983

Anselm Kiefer, German, born 1945; Unternehmen Seelöwe (Operation Sea Lion), 1976; emulsion, oil, acrylic, shellac, sand, and charcoal on canvas;

Thanksgiving, John Currin, 2003, oil on canvas.

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buzzerbetsi.bsky.social @buzzerbetsi.bsky.social · 23/05/2026

The photorealists were a movement that took advantage of photography’s limits. At the time, photos could only be blown up so till they lost detail. The Photorealists would paint on very large canvases and use multiple photo closeups as reference material to achieve works that cameras couldn’t. 2/x

Marylin (Vanitas), Audrey Flack, 1977, oil on canvas, Ninety-Six Inches By Ninety-Fucking-Six Inches. There is a portrait of James Dean in the candlestick’s reflection. Possibly a meditation on the oncoming death of figurative painting.

A work probably by Richard Estes. Oil on canvas, also really big.

Chuck Close, Big Self-Portrait, 1968, acrylic on canvas, 107-1/2" x 83-1/2" (273 cm x 212.1 cm). From Pace Gallery. He has also been accused of sexual harassment by several women.

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buzzerbetsi.bsky.social @buzzerbetsi.bsky.social · 13/11/2025

What keeps me going is knowing that forms of violence are historically contingent. And by changing our environment and economics, we can change the forms of violence. A good example of this can be read into the book, “Prisoners of Liberation,” which is summarized in the alt text.

During the warlord period of the RoC, the semi-feudal economy created landlords, this is different from people who own apartments and rent them, that heavily taxed the peasants, and of them, created people, like one landlord, who stopped counting how many people he killed, after 20 victims, and sexually assaulted people as often as you would eat bread. These societal positions are not constant. New environments birth them. New environments can destroy these positions and prevent their resurrection. The Chinese revolution wasn’t a completely successful communist revolution, though a successful national revolution, but through the revolution, through the destruction of the way land was held and exchanged, the semi feudal economy was destroyed, and with it, a historically contingent form of violence.

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buzzerbetsi.bsky.social @buzzerbetsi.bsky.social · 08/01/2025

Yeah, you can thank the Christofascists running the Hays code for that.

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