So this is my amazing birthday cake by Randi Graham.

So this is my amazing birthday cake by Randi Graham.

astrostatic:

Honored to have made this on @josh_grable, a really awesome tattooer. Follow him!

astrostatic:

Honored to have made this on @josh_grable, a really awesome tattooer. Follow him!

(via electrictattoos)

"

Artsy: Why is public art important?

UR: Because I believe art makes us better people! So as more people see art, it will influence their conscience.

"

More of Human Nature artist Ugo Rondinone with Artsy here (via publicartfund)


Matt Furie.
spx:

Agro-reading. http://bit.ly/ZHYt2b
Please (aggressively) support your local library.

spx:

Agro-reading. http://bit.ly/ZHYt2b

Please (aggressively) support your local library.

2headedsnake:

Bust of Dierdre

The candle melts through the eyes after three hours of burning, creating wax tears.

(via ambermariecox)

cavetocanvas:

Cecily Brown, Black Painting I, 2002
From the Broad Art Foundation:

The Broad Art Foundation’s Black Painting 1, 2002 is part of a series of dark works that muses on the connection between sex and death and demonstrates the complexity of Brown’s sources and concerns. A viewer can detect the hint of many references, notably Goya’s famous etching       The Sleep of Reason Produces Monsters, Henry Fuseli’s  The Nightmare, 1782 and William Blake’s Jerusalem, 1820. However, Brown’s work is not easily reducible to any one forerunner and can be seen as a critique of these historical works. Unlike the ravished and intruded females of Blake and Fuseli, the painting presents a solitary male tortured by ambiguous if not evil spirits of the night. Goya’s bats and Fluseli’s horrible incubus become a cloud of fading flashes of white strokes, but it is ultimately uncertain whether the flashes come from an outside source or are produced by the man’s prone, orgasmic body.

cavetocanvas:

Cecily Brown, Black Painting I, 2002

From the Broad Art Foundation:

The Broad Art Foundation’s Black Painting 1, 2002 is part of a series of dark works that muses on the connection between sex and death and demonstrates the complexity of Brown’s sources and concerns. A viewer can detect the hint of many references, notably Goya’s famous etching       The Sleep of Reason Produces Monsters, Henry Fuseli’s  The Nightmare, 1782 and William Blake’s Jerusalem, 1820. However, Brown’s work is not easily reducible to any one forerunner and can be seen as a critique of these historical works. Unlike the ravished and intruded females of Blake and Fuseli, the painting presents a solitary male tortured by ambiguous if not evil spirits of the night. Goya’s bats and Fluseli’s horrible incubus become a cloud of fading flashes of white strokes, but it is ultimately uncertain whether the flashes come from an outside source or are produced by the man’s prone, orgasmic body.

(via lavvvender)

2headedsnake:

Moussa Kone

2headedsnake:

Moussa Kone