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Anonymous said: you look fucking stupid in a dress, DUDE

dajo42:

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come closer one second

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little closer

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okay close enough

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i have a simple question: which of us is wearing a crown?

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that would be me.

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do you know what this crown means?

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it means i look fucking cute

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and you’re the human embodiment of a sore butt

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now as your fucking queen, i royally declare

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that i am beautiful and you are a listerine enema

brianmichaelbendis:

Captain Supermarket (Army of Darkness’ title in Japan)

brianmichaelbendis:

Captain Supermarket (Army of Darkness’ title in Japan)

earthlynation:

common sense, really

baby's first words

  • baby: d-d-da..
  • father: daddy?
  • baby: dada /ˈdɑːdɑː/ or Dadaism was an art movement of the European avant-garde in the early 20th century. Many claim Dada began in Zurich, Switzerland in 1916, spreading to Berlin shortly thereafter but the height of New York Dada was the year before, in 1915.[1] To quote Dona Budd's The Language of Art Knowledge,
  • Dada was born out of negative reaction to the horrors of World War I. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zurich. Dada rejected reason and logic, prizing nonsense, irrationality and intuition. The origin of the name Dada is unclear; some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara's and Marcel Janco's frequent use of the words "da, da," meaning "yes, yes" in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to 'dada', a French word for 'hobbyhorse'.[2]
  • The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti-bourgeois and had political affinities with the radical left.

Chris Pratt Interrupts Interview To French Braid Intern’s Hair

nycartscene:

thru Aug 10:Tara Donovan Pace Gallery, 534 W25th St., NYCPresents two new large-scale sculptures comprised from index cards and acrylic rods, respectively. With these works, the artist continues to explore the phenomenological effect of work created through the accumulation of identical objects. Untitled (index cards), the first such work created by Donovan, is a 13’ x 25’ x 30’ sculpture in eight parts comprised of several million 3x5” white cards stacked and glued into scores of interweaving columnar forms combining to reach a summit on each element. Also featured is a newly completed untitled sculpture made with thousands of acrylic rods. Donovan spends months or even years searching for a method of assembly that allows the simple and immutable characteristics of the chosen material to generate complex, emergent phenomena which keep the viewer cycling between perception of the parts and the whole between the forms themselves and the light that surrounds and divides them. The work draws on both Minimalist and formalist histories, while creating a radically new form which embraces complexity and iterative processing.

nycartscene:

thru Aug 10:

Tara Donovan
 
Pace Gallery, 534 W25th St., NYC

Presents two new large-scale sculptures comprised from index cards and acrylic rods, respectively. With these works, the artist continues to explore the phenomenological effect of work created through the accumulation of identical objects. Untitled (index cards), the first such work created by Donovan, is a 13’ x 25’ x 30’ sculpture in eight parts comprised of several million 3x5” white cards stacked and glued into scores of interweaving columnar forms combining to reach a summit on each element. Also featured is a newly completed untitled sculpture made with thousands of acrylic rods. Donovan spends months or even years searching for a method of assembly that allows the simple and immutable characteristics of the chosen material to generate complex, emergent phenomena which keep the viewer cycling between perception of the parts and the whole between the forms themselves and the light that surrounds and divides them. The work draws on both Minimalist and formalist histories, while creating a radically new form which embraces complexity and iterative processing.