Rose Knapp 🏳️‍⚧️🏳️‍🌈
@roseknapp.bsky.social
4.8K followers 1.3K following 9.8K posts
Experimental Poet • Sound Artist Philosophy Φ • She/They Trans & Nonbinary • Pan Artist Site: Roseknapp.weebly.com
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roseknapp.bsky.social
My new poetry collection, Neo—Dadaist Psyche, is out now!

These poems are raw, dark, paranoid, radical, nonsensical, illogical, mythological, syncretic, eclectic, and first and foremost, Dadaist poems.

Lulu:
www.lulu.com/shop/rose-kn...
Reposted by Rose Knapp 🏳️‍⚧️🏳️‍🌈
roseknapp.bsky.social
New poetry!

#poetry #experimentalpoetry #futurism #spiritualpoetry
roseknapp.bsky.social
New poem!

#poetry #micropoetry #beatpoetry #ecopoetry #spiritualpoetry
Reposted by Rose Knapp 🏳️‍⚧️🏳️‍🌈
pbsnews.org
Pivotal cases on voting and the rights of LGBTQ people also are on the agenda. On Tuesday, the justices will hear arguments over bans passed by nearly half of U.S. states on therapy aimed at changing sexual orientation or gender identity.
https://to.pbs.org/4nZr4hk
The Supreme Court begins a new term that will examine Trump's expansive claims of presidential power
Pivotal cases on voting and the rights of LGBTQ people also are on the agenda.
www.pbs.org
Reposted by Rose Knapp 🏳️‍⚧️🏳️‍🌈
Reposted by Rose Knapp 🏳️‍⚧️🏳️‍🌈
u2500.rmfrt.com
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Reposted by Rose Knapp 🏳️‍⚧️🏳️‍🌈
u2500.rmfrt.com
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Reposted by Rose Knapp 🏳️‍⚧️🏳️‍🌈
imogenreid.bsky.social
Line Drawing, Sketch Printed on Fabriano Paper
roseknapp.bsky.social
Grit by Silas Denver Melvin

#poetry #transpoetry
Reposted by Rose Knapp 🏳️‍⚧️🏳️‍🌈
mdstamper.bsky.social
Girl in a Chemise by Pablo Picasso (Spanish) - Oil on canvas / c. 1905 - Tate Modern (London, England) #WomenInArt #Picasso #PabloPicasso #art #artText #artwork #Tate #TateModern #PortraitofaGirl #BlueskyArt #ModernArt #OilPainting #chignon #bskyart #artbsky #ArtOfTheDay #TheTate #SpanishArtist
Made in Paris, France as Spanish artist Pablo Picasso moved from his Blue Period to his Rose Period, the sitter appears in a thin white chemise whose strap slides off the near shoulder. Her build is slight and androgynous with a narrow chest, fine jaw, and long neck tapering to a delicate collarbone. Her dark hair is drawn into a low chignon. Her mouth is small, softly red; the eyelid and nose ridge are tenderly modeled. Cool light from the upper left flattens deep shadow, leaving planes of pale peach and cool blue to meet in quiet transitions. Firmer lines beneath her chin and at the temple hint at another figure under the surface that is stronger, sharper, and more boyish like a memory through skin.

This canvas embodies a pivot from melancholy to warmth while keeping Picasso's Blue Period’s restraint. Technical study shows an earlier image, likely of a young saltimbanque (street performer) boy, over which Picasso re-drew, lengthening the neck, refining the jaw, and adding the chignon to transform gender and mood. The result is a poised, ambiguous presence: tender yet reserved, hovering between boy and girl, blue and rose, poverty and poise. 

Some identify the sitter as “Madeleine,” Picasso’s companion before Fernande Olivier; others say the evidence is inconclusive. That uncertainty makes this a portrait of becoming rather than being. 

In Montmartre around 1904–1905, Picasso pared his means to contour, thin veils of color, and small inflections of mouth and eye. “I paint forms as I think them,” he later said, a line that suits this metamorphosis: one body revised into another by vision and paint.

The painting also reveals the young Spanish artist’s economy and restlessness with one canvas, two lives. The sitter’s identity may be uncertain, but the life around her is not: Picasso, just 23 years old, balancing hunger and ambition, testing how far a line and a wash of blue can carry feeling and how a portrait can hold the trace of who was there before.
roseknapp.bsky.social
Pondering how far one can go in writing abstract poetry without any trace of the Id or Ego contaminating its ‘pure’ Eliotesque depersonalization.