We’re drawn to antagonists, who are often played by heartthrobs like Nikolaj Coster-Waldau in Game of Thrones or Michael B. Mire’s work is powerful precisely because of this taboo, and because it challenges how women are “supposed” to behave, and in her case, also how women in South Korea are supposed to behave. Rops' best works were inspired by the femmes parisiennes, who had a profound and exciting effect on him when he moved to the French capital in 1862. As Hildegard von Bingen played softly in the background, Gryczkowska intersticed conversations about the show with anecdotes from her own life with a light-hearted smile. He had a fear of women but was for a time happily married and then lived in a menage a trois with two sisters.

You look at their pieces and are unsure whether they’re dead or alive, from this world or another, and that’s a constant question. Blindfolded and located atop a marble frieze, she haughtily holds a pig on a leash, a symbol of filth and temptation. Viggo Mortensen has never not been hot, even when he’s all dressed in black, crouched on a pile of bricks, with his hair slicked back, threatening Virginia Madsen. All of these things make us aware of our corporality and our bodily functions and, in doing so, create an ontological threat.

Ferri is a contemporary Italian artist who draws his inspiration from Baroque painters like Caravaggio.

I guess that my work speaks about things relative to everyone—and those are sex and the magical relationships between humans and the divine," López tells Creators. In Julia Kristeva’s book, Powers of Horror, she describes this exact phenomenon and how it corresponds to bodily fluids. It’s mostly been shown in more commercial exhibitions about film design or Hollywood, so he’s yet to have a moment within the serious fine art world. Born a Catholic, Rops seems to have been inspired in various works by the Catholic perception of women, which regards women as the tools of Satan.She raises a male puppet high above a font as if to make a sacrifice, while her left hand clutches a blood-covered dagger. What better represents our contradictory relationship to the abject than unidentifiable, viscous fluid? The Story of Mankind is sort of exactly what it sounds like, and landed itself a spot in the book The Fifty Worst Films of All Time. His work is impeccable, and his painting of the Fallen Angel in particular (above) proves that our fascination with heaven, hell, Satan and falling from grace is far from over.