Q. Okay ladies my name is Ben, im a 25 yr old closet crossdresser who has always wanted long, immaculate, perfect nails. Strange I know but i just get so jealous whenever I see a beautiful french manicure. Well I finally decided to not give a sh*t what people think and make myself an appointment tomorrow at 11am at the nail salon : ) Not gonna lie I am petrified i am going to get made fun of or laughed at inside. I NEED some ideas on what to get tho! French is pretty but its boring. I want something bright and sparkly...Another thing, I dont have long nails, there short, cracked and gross so I was thinking about getting acrylics. Give me some ideas ladies! muah I love you all thank you for your advice!
Answer
I always get acrylics with lots of glitter. Usually the manicurist will have little samples of nail art but they should be able to do anything
I always get acrylics with lots of glitter. Usually the manicurist will have little samples of nail art but they should be able to do anything
How has Walt Disney influenced art?
Answer
If you look at Bambi a forties film you can see just how amazingly beautiful and crafted it was
http://animatedfilms.suite101.com/article.cfm/once_upon_a_time_walt_disney_2
Walt Disney has always had an uncomfortable relationship with the visual arts, as the second part of Once Upon a Time Walt Disney makes perfectly clear. In this half of the exhibition, Disney images veer from honoured high art to despised symbols of American cultural imperialism.
During the first half of the Twentieth Century, Disney's animated shorts and movies were as essential to hipster culture as jazz and Cubism. The studio's irreverent style and detailed work won them the support of art lovers, and the hatred of dictators like Adolf Hitler (on the other hand, Soviet thug Josef Stalin was a fan). Painter Salvador Dali even claimed that Walt Disney, director Cecil B. DeMille and the Marx Brothers were the "only American surrealists."
That state of affairs changed around 1940, when the studio was crippled by a bitter animators' strike. Walt Disney's forceful attempts to shut down union agitators alienated his hipster fanbase, who started deriding the studio as "The Mouse Factory" or "The Mouse House." Disney's subsequent support for Senator Joseph McCarthy, and his anti-Communist witch hunt, was the final nail in the coffin. Walt Disney Studios was now a pawn of The Man, and has been ever since.
Naturally, 1960's Pop artists like Roy Lichtenstein, Claes Oldenburg and Andy Warhol were drawn to Disney images. The entire notion of Pop art was a gigantic razzberry to 20th Century art critics like Clement Greenberg, who created a vast gulf between kitsch (artistic opium for the masses) and high art (abstract, expressionistic works that only appealed to a cultural elite). However, Pop art still had a ironic cast: Andy Warhol mocked his images of Mickey Mouse and Campbell's Soup even as he recast them as high art.
One of Warhol's Mickey Mouse paintings, which is essentially identical to his famous images of Elvis Presley and Marilyn Monroe, is prominently featured in the exhibition.
If you look at Bambi a forties film you can see just how amazingly beautiful and crafted it was
http://animatedfilms.suite101.com/article.cfm/once_upon_a_time_walt_disney_2
Walt Disney has always had an uncomfortable relationship with the visual arts, as the second part of Once Upon a Time Walt Disney makes perfectly clear. In this half of the exhibition, Disney images veer from honoured high art to despised symbols of American cultural imperialism.
During the first half of the Twentieth Century, Disney's animated shorts and movies were as essential to hipster culture as jazz and Cubism. The studio's irreverent style and detailed work won them the support of art lovers, and the hatred of dictators like Adolf Hitler (on the other hand, Soviet thug Josef Stalin was a fan). Painter Salvador Dali even claimed that Walt Disney, director Cecil B. DeMille and the Marx Brothers were the "only American surrealists."
That state of affairs changed around 1940, when the studio was crippled by a bitter animators' strike. Walt Disney's forceful attempts to shut down union agitators alienated his hipster fanbase, who started deriding the studio as "The Mouse Factory" or "The Mouse House." Disney's subsequent support for Senator Joseph McCarthy, and his anti-Communist witch hunt, was the final nail in the coffin. Walt Disney Studios was now a pawn of The Man, and has been ever since.
Naturally, 1960's Pop artists like Roy Lichtenstein, Claes Oldenburg and Andy Warhol were drawn to Disney images. The entire notion of Pop art was a gigantic razzberry to 20th Century art critics like Clement Greenberg, who created a vast gulf between kitsch (artistic opium for the masses) and high art (abstract, expressionistic works that only appealed to a cultural elite). However, Pop art still had a ironic cast: Andy Warhol mocked his images of Mickey Mouse and Campbell's Soup even as he recast them as high art.
One of Warhol's Mickey Mouse paintings, which is essentially identical to his famous images of Elvis Presley and Marilyn Monroe, is prominently featured in the exhibition.
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