(Source: ssstrychnine)
(Source: freeabortions)
John Waters, Return to Sender, 2003. Chromogenic print.
At first glance an elegantly arranged abstract collage of pastel-colored papers, Return to Sender shows an assortment of envelopes sent by the artist to a perverse pantheon of has-been performers (Pia Zadora, Joey Heatherton), cult leaders (Reverend Jim Jones, Charles Manson), and once-notorious, now-forgotten headline makers (Madelyn Murray O’Hare, Virginia McMartin). Each envelope is covered with the cryptic memento mori of anonymous postal workers, from “DECEASED DIE” to “EXPIRED. LOCATION NOT KNOWN.” Using the same deceptively sunny palette as his darkly humorous films, Waters makes a trenchant comment about America’s fatal attraction to celebrity by retracing the now-familiar route from anonymity to fame (or infamy) to oblivion, using the U.S. mail as
his collaborator. — from The Metropolitan Museum of Art
She can’t help it. The girl can’t help it.
Pink Flamingos, 1972.
(Source: mondoinsano)
(Source: mondoinsano)
