dont let my erection fool you i am actually very sad
Hello Grandma
eating butterscotch krimpets
SO AT MY HOTEL THERE WAS A PROM GOING ON
SO I THREW TOGETHER A MAKESHIFT PROM OUTFIT AND CRASHED IT
(there was no security but it was like deathly silent when i walked in because everyone was eating and there was absolutely no security and the prom only had like 200-300 people and i walkdd in, took a selfie, and left)
It’s always sunny in Philadelphia?
how to have a flat stomach
- remove all of your organs
Feminists act like all men are naturally rapists. Saying things like, “rape culture teaches boys to think sexual harassment and assault are okay, and if we teach boys differently they wouldn’t rape people”, or “men who assault or rape someone should be held accountable for their actions regardless…
I can’t stand how the husband in sitcoms is always made to look like an idiot. We really need to boycott all those female-run channels with their female-written, casted and approved misandrist sitcoms until they stop running their man-hating programming.
sometimes i make cute things
FEEL BETTER
Geometry Meets Landscape
I want to join your hardcore band but my mom wants to talk to your mom first
fuck bitches get money smoke weed read books pet small animals donate to charity help the elderly
Jeff Mangum, January 2013 By Daniel Coston
Christian Boltanski - Kaddish (published in 1998) - Objects confiscated by Nazis, some found in sewers, deposited in the Central Jewish Museum, Prague
“The banal tenor and specificity of context in Boltanski’s still-lifes introduce an interesting dialogue as the tonality and depth, or lack thereof, in his photographs render what are reasonably delicate subjects, into mute and objectified echos from a nonspecific time or place. Boltanski’s infatuation with confiscated war relics, (post-) belongings and objet trouvé presented throughout his tetrad make reference to the anonymity and translucence of memory, the interstitial space between sentimentality and indifference, and ultimately focus on transience, singularity and, often forced, despondency.
Having absented himself from formal education in his preteens, Boltanski moved from rudimentary sculpture, drawing and painting to installations of pensive and introspective sculptural, filmic, and photographic works, questioning his own substance and significance in relation to memory, lineage and cultural praxis.
When Boltanski’s work seems to display a profound melancholy or contemplation on histories past, it is the artist who abruptly categorizes his works as quotidian debris, coincidence or ‘stupid’ objects – stating that that it is ‘simply much easier to be dead, than to be alive.’”
