nah

baby cats very cute

dateamonster:
retirement home for old slashers and movie monsters ala old friends senior dog sanctuary
filling a pumpkin with raw hamburger meat for freddy krueger to stab with his little claw glove thing. enrichment.

wike-wabbits:

Snail fossil that has completely transformed into Opal

karrova:

PixCell-Deer#24
Kohei Nawa (Japanese, born 1975), Heisei period (1989–present)
2011

roundo:

Ok this one is kind of a serve I would hang this sign on my wall

amazoogle:

Have and Have Not (2006)
Crystal Schenk

viejospellejos:

adventures-in-poor-planning:

yesterday I got the “are you a boy or are you a girl” question from a six-year-old, and I told her that some people aren’t boys or girls (like me!) I was expecting her to be a little confused, but she nodded thoughtfully and said, “wow, just like snails.”

sartorialadventure:

2000-year-old sapphire ring presumably belonging to Roman emperor Caligula, thought to depict his fourth wife Caesonia

18notwar:

mongeese:

every bad and stupid fight scene from old star trek is good and correct, actually. like i’m sorry, you DON’T want to watch captain kirk fling his whole bootyass at some guy covered in green silly putty? couldn’t be me

skyhook-parchment:

astraldemise:
does anyone know whats up with this mallard i saw ? it has the male feather pattern but the female coloration and was twice the size of the other ducks
I love this site 😌

the-cinder-fields:

HAO LIANG, Quiet Calls 2011

nerdygaymormon:

“Untitled” (Portrait of Ross in L.A.) is a 1991 piece by Felix Gonzalez-Torres in the collection of the Art Institute of Chicago. It’s a spilled pile of candy.
The pile of candy consists of commercially available, shiny wrapped confections. The physical form of the work changes depending on the way it is installed. The work ideally weighs 175 pounds (161 kg) at installation, which is the average body weight of an adult male. “Untitled” (Portrait of Ross in L.A.) represents a specific body, that of Ross Laycock, Gonzalez-Torres’ partner who died of AIDS in 1991. This piece of art serves as an “allegorical portrait,” of Laycock’s life.
Visitors are invited to take a piece of candy from the work. Gonzalez-Torres grew up Roman Catholic and taking candy is a symbolic act of communion, but instead of taking a piece of Christ, the participant partakes of the “sweetness” of Ross. As the patrons take candy, they are participants in the art. Each piece of candy consumed is like the illness that ate away at Ross’s body.
Multiple art museums around the world have installed this piece.
Per Gonzalez-Torres’ parameters, it is up to the museum how often the pile is restocked, or whether it is restocked at all. Whether, instead, it is permitted to deplete to nothing. If the pile is replenished, it is metaphorically granting perpetual life to Ross.
In 1991, public funding of the arts and public funding for AIDS research were both hot issues. HIV-positive male artists were being targeted for censorship. Part of the logic of “Untitled” (Portrait of Ross in L.A.) is you can’t censor free candy without looking ridiculous, and the ease of replicability of the piece in other museums makes it virtually indestructible.