All the “inktobers” for this week (taking a break for the weekend) !
I. Hérault / Herald · II. Piqueur / Kennelkeeper · III. Échanson / Cupbearer · IV. Naturaliste / Naturalist · V. Comédien / Comedian · VI. Chirurgien / Surgeon
shocked bystander at sydney, australia’s annual mardis gras pride parade (1994)
For those who give a shit about it, this is a staged photo, the woman on the left is a drag queen doing a bit. Here’s a few more photos of her taking in the beautiful sights and sounds of the parade:
Before the internet, librarians were the gatekeeper of knowledge. For your reading pleasure, the New York Public Library released a cache of queries and conundrums called in from the 1940s to the 1980s.
honestly will never forget this older client we had who told me how her life had gotten so much better with time and age and asked how old I was and when I told her I was 28, she said I was just a baby and reassured me I had so much time ahead of me and how much better it’ll get as I grow into my life. There was such an indescribable amount of love and hope in that single interaction I think I’ll hold it with me forever.
Kay Sekimachi (born 1926) is an American fibre artist and weaver, best known for her three-dimensional woven monofilament hangings as well as her intricate baskets and bowls.
“Born in San Francisco, Kay Sekimachi studied at the California College of Arts and Crafts in Oakland from 1946 to 1949. In 1949 she took up weaving on the loom and became so adept at the labor-intensive process that she is often referred to as a “weaver’s weaver.” Today, almost fifty years after she began to work in fiber, Sekimachi is recognized as a pioneer in resurrecting it as a medium of artistic expression.
Sekimachi uses the loom to construct three-dimensional sculptural forms. In the early 1970s she used nylon monofilament to create hanging quadruple tubular woven forms to explore ideas of space, transparency, and movement. Inspired by her ancestral homeland of Japan, Sekimachi repeatedly returns to that ancient culture for ideas.
Sekimachi eschews color in order to reinforce the sculptural qualities of her forms and emphasize the natural properties of her chosen materials. Enamored with antique Japanese paper, she has created a series of standing geometric postlike forms that suggest ancient totemic figures.”
