Heavenly Polka Daubs / Ann Marie Coolick / 2018

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oozey mess

Janaina Medeiros

#extradirty
One Nice Bug Per Day
hello vonnie

Origami Around
KIROKAZE
Keni
art blog(derogatory)
he wasn't even looking at me and he found me
PUT YOUR BEARD IN MY MOUTH
Xuebing Du

Andulka

Discoholic 🪩

★
AnasAbdin
ojovivo

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Monterey Bay Aquarium
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@todatuluz
Heavenly Polka Daubs / Ann Marie Coolick / 2018
Untitled / Herbert Hamak / 2013
HDF_560 / Michael Staniak / 2017
Lens / Alex Israel
The Deep Blue Sea / Dinh Q
Church Fire / Giacomo Carmagnola
El arte no debe ser subyugado, nunca debe estancancarse; debe ser una fuente creciendo y cayendo, llevada hacia una secuencia infinita de formas.
JONNY NIESCHE
Rose Wylie: Horse, Bird, Cat (2016)
¿Por qué es importante superar lo convencional?
Dejaré que Nietzsche lo explique.
Consider the herd grazing before you. These animals do not know what yesterday and today are but leap about, eat, rest, digest and leap again; and so from morning to night and from day to day, only briefly concerned with their pleasure and displeasure, enthralled by the moment and for that reason neither melancholic nor bored. It is hard for a man to see this, for he is proud of being human and not animal, and yet regards its happiness with envy because he wants nothing other than to live like an animal, neither bored nor in pain. Man may well ask the animal: why do you not speak to me of your happiness, but only look at me? The animal does want to answer and say: because I always immediately forget what I wanted to say- but then it already forgot this answer and remained silent, so that man could only wonder.
But he also wondered about himself, that he cannot learn to forget but always remains attached to the past: however far and fast he runs, the chain runs with him. It is astonishing: the moment, here in a wink, gone in a wink, nothing before and nothing after, returns nevertheless as a spectra to disturb the calm of a later moment. The man says “I remember” and envies the animal, which immediately fogets and sees each moment really die, sink back into deep night extinguished forever. In this way the animal lives unhistorically, it goes into the present like a number without leaving a curious fraction, it does not know how to dissimulate, hides nothing, appears at every moment fully as what it is and so cannot but be honest.
Man, on the other hand, resists the great and ever greater weight of the past: this oppresses him and bends him sideways, it encumbers his gait like an invisible and sinister burden which, for the sake of appearances, he is all to pleased to deny. Then he comes to understand the phrase “it was,” that password with which struggle, suffering and boredom approach man to remind him what his existence basically is: a never to be completed imperfect tense.
With the smallest as with the greatest happiness there is always one thing that makes it happiness: being able to forget. Whoever cannot settle on the threshold of the moment, forgetful of the whole past, whoever is incapable of standing on a point like a goddess of victory without vertigo or fear will never know what happiness is, and (even worse yet) will never do anything to make others happy.
All acting requires forgetting: without forgetting, it is quite impossible to live at all.
Little Accents / Wassily Kandinsky / 1940
Violet Torso on Orange Stripes / Henry Moore / 1967
California Art Collector / David Hockney / 1964
Horse and Hedgehog / Franz Marc / 1913
Dreaming about Somewhere Else / David Beattie / 2017
The Robing of the Bride / Max Ernst / 1940
Tu cara en el mar / Diango Hernández / 2016