you can't leave now, i made quiche ...

[tonightweredrinkingfromthebong]

[moonandtrees]

[princesssokphanny]

A once-in-a-lifetime shot — the moon perfectly framed by a rainbow. Caught at just the right time. 🌈 🌕

[kedreeva]

Sourcing the photos as taken by Mark Ham on Instagram, according to one of the replies.

[leebrontide]

Happy Pride month to the moon

[crittaslink]

[jay-foxx]

Visit Original Link

Visit Original Link

Visit Original Link

Visit Original Link

Visit Original Link

Matt and Jay's answering machine

[doctorsex69]

DJing at the club: put your hands in the air and shake your ass a lil if you love baby animals!!!! everyone go crazy!! do it for the baby animals!!😄

[freedrawing]

Analyzing Children’s Art, Rhoda Kellogg 1970

[laterkiss]

i have [gestures vaguely] my tendencies

[mediaspectacle]

Nirvanna the Band the Show (2016-) / Nirvanna the Band the Show the Movie (2025) + Roland Barthes, A Lover's Discourse: Fragments

[gaycop]

happy pride to everyone living a genderless burger experience

[bazooiegod]

recreation of something i saw in a dream

[tsarina-anadyomene]

I remember when I was first learning about institutional theories of art in undergrad, I thought that the mere fact that something had been chosen for art candidacy was not the interesting part. The interesting part came from the deeper reasons that the institution cites for inclusion or non-inclusion. I still think I was kind of right about that and I think newer, fancier institutional theories are a lot more keyed into that. But gallery culture just isn't tuned into what analytic philosophers of art are doing for better or for worse. There is a deeper point I want to get to here. We have really lost the conception of artists as having a special ability to articulate the world or our values (and this makes the claim to the glory of the arts feel a bit hollow). And in part I do think that it is because as a result of the liberal world we have become very in love with the mere fact of choice. What makes the banana on the wall function is the regime which says "there is nothing beyond the mere fact of my choosing." I am rather cynical now of the fallout of Kant's "to be of value is to be an end set by an agent" (a paraphrase). Back to the artworld: even when that phrase is stated as a criticism or a cynical declaration of despair it still functions to reinforce that regime. But our choices aren't without substance or basis. They are not Sartrean moments in the void. We do things for reasons or in response to value and we do things in connection with a real world. It seems like one way in which people have tried to wed the moment of choice back to the world is by talking about the role of various structures in informing our choice. The result, I think, is a kind of fixation on identity and a kind of contingency. And part of the appeal of this is that it makes scholarship rather mechanical (and I think this scholarship has become quite mechanical) in a way that can sustain a growing professional class that can keep its jobs by simply following a formula. But notice that this still involves a kind of obsession with the moment of choice and the features of the decider. There is still (quietly) the longing for the existentialist free decider whose choice is authentic because it is subaltern. More importantly: notice how far back we've still retreated from the world. There is only a very thin scaffolding which the artworld can see from either this perspective or the perspective of mere choosing. Part of the hope of the arts from the 19th Century onward is that it would renew our sight of the world and let us see past the restrictive scope of various regimes of abstraction and rational organization. The thought appears again and again that we can break free from our habitual modes of seeing. The full richness of the world could be reclaimed. And so perhaps the fact that the special power of the arts becoming so laughable is not a transhistorical fact but a contingent and local one, where the artworld is seized by a self-undermining kind of thought. The ideology is at odds with the constitutive aim of the practice.

[hexedax]

i fucking cant believe its june.

[sparrowlucero]

its kind of distressing how you can tell a lot of people see popular indie artists and writers and such as like "a Celebrity but one which i stand a half decent chance of bullying to death"

[wordcubed]

[tonyzaret]

My fujoshi accountant loves yaoi

[phillip-bankss]

Do you like to play happy games and draw pretty pictures

well yes!

[gougeddoll]

1,600-year-old lead curse tablet in the museo archeologico Civico di Bologna, of unknown provenance. the first known surviving curse directed at a roman senator. the text is written mainly in latin with greek invocations. part of the curse reads, "crush, kill fistus the senator, may fistus dilute, languish, sink and may all his limbs dissolve".