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Stay Up Late is a 1992 erotic furry watercolor painting by Brian Swords. The work depicts two anthropomorphic white rats embracing on a bed. Between 1988 and 1993, Swords donated paintings to an annual art auction for WITF-TV, a public television station in central Pennsylvania. As the years went on, the artwork became more explicit ...
"Ship" and its derivatives in this context have since come to be in widespread usage. "Shipping" refers to the phenomenon; a "ship" is the concept of a fictional couple; to "ship" a couple means to have an affinity for it in one way or another; a "shipper" or a "fangirl/boy" is somebody significantly involved with such an affinity; and a "shipping war" is when two ships contradict each other ...
Fur Affinity [2] (also written as FurAffinity) is a furry-centric art community that hosts artwork, literature, photography, and audio recordings. It was launched in 2005 by a pseudonymous individual using the moniker "Alkora" and was owned by Sean "Dragoneer" Piche through his limited liability corporation Ferrox Art from 2007 until 2015 when it was purchased by virtual world platform IMVU ...
A large group of fursuit owners at a furry convention. The furry fandom is a subculture interested in anthropomorphic animal characters. [1] [2] [3] Some examples of anthropomorphic attributes include exhibiting human intelligence and facial expressions, speaking, walking on two legs, and wearing clothes.
The art is by Georges Topfer from his work Le rêve d’un flagellant ("The Dream of a Flagellant"). Dominance and submission ( D/s ) is a set of behaviors, customs, and rituals involving the submission of one person to another in an erotic episode or lifestyle .
Another street is shown with many neon signs, including one which says "Broadway" and another with features the legend "Juxtapozed with U, Super Furry Animals". The couple continue driving until they reach the Guggenheim Art Museum where they park beside a valet who opens the car's passenger door.
Herbert and Dorothy Vogel. Herbert Vogel (August 16, 1922 – July 22, 2012) and Dorothy Vogel (born 1935), once described as "proletarian art collectors," [1] worked as civil servants in New York City for more than a half-century while amassing what has been called one of the most important post-1960s art collections in the United States, [2] mostly of minimalist and conceptual art. [3]
The work's concept originated in a conversation among Oppenheim, Pablo Picasso, and his lover and fellow artist Dora Maar at a Parisian café [4] where the café's social role was discussed, [5] and at which Oppenheim was wearing a fur-covered brass tube bracelet, the pattern of which she sold to the fashion designer Elsa Schiaparelli.
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