deborah bright

As many of you may know by now, we’re supposedly getting a “Spring Break” swimsuit DLC for the game sometime soon. Which honestly I don’t mind much, even though I’m not super wild about it, it’ll be nice to have some new outfits.

What I am worried about a little is the Devs just giving all the girls bikinis despite it not suiting individual personalities. So I doodled up a bit what I feel like Deborah would be more inclined to wear (if she ever sets foot in that disgusting Jason Soup lake that is.) With her big sweaters in the middle of Summer and generally mouse-y appearance, I don’t get the feeling Deborah’s really the type to want to show off her body with a bikini, and probably even feels uncomfortable in a one-piece suit. So, I looked up some actual 80’s swimsuit patterns to find a really cute one with an optional skirt that I thought would fit her.

:3 Stealing Tommy’s jacket for a coverup is an added bonus too.

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25 favourite french movies - 6/25

Populaire (Régis Roinsard, 2012)

DEBORAH BRIGHT AS RADCLYFFE "JOHN" HALL

Our Radclyffe “John” Hall will be played by the independent and forward-thinking Deborah Bright, whose other roles in life include that of a Photographer, Writer, former Professor at Rhode Island School of Design and the current Chair of Fine Arts at Pratt Institute. She was born in Washington, D.C. in 1950 as an Aquarius rising Virgo with a Moon in Pisces, thus characterized by a progressive mind, an intelligent and reserved aura, and a remarkable intuition. How did she reach this assured destination of white hair, black suit jacket, and a playfully tilting bowler hat, assuming the classic resolute pose of one hand resting on the hip? Well, in the mid 70s, while she was a graduate student in Painting at the University of Chicago, she was preparing the photographs of Walker Evans for an exhibit in the studio gallery. Captivated by his sophisticated storytelling through images, she realized: “That’s my medium.” Since then, her photographic work has explored landscapes where particular histories have been obscured, hidden, mystified and misrepresented for political reasons. Her queer projects, like “Dream Girls” (memories of girlhood afternoons watching old Hollywood movies) and “Being and Riding” (memories of a childhood obsession with horses) address questions of erotic identity formation. In 1998, she edited The Passionate Camera: photography and bodies of desire, a groundbreaking collection of images and writings on photography and queer politics. In 2010, she was named Honored Educator of the Year by the Society for Photographic Education.

Landscape imagery has almost always been used to argue for the timeless virtues of a nature that transcends history—which is to say, collective social action. For many art photographers in the modern era, on the other hand, landscapes seem to be little more than stage-sets for private aesthetic experiences captured on film…

But landscapes needn’t serve such meager ends. If we are to redeem landscape photography from such a narrow, self-reflexive project, why not use it to question the assumptions about nature and culture it has traditionally served? Landscape is not the ideologically neutral subject many imagine it to be. Rather, it is an historical artifact that can be viewed as a record of the material facts of our social reality and what we have chosen to make of them.

—  Deborah Bright, Of Mother Nature and Marlboro Men: An Inquiry Into the Cultural Meanings of Landscape Photography