thedaisiestdaisy: laserscrewdriver: AVENGE ME HAMLETFOR I WAS KILLED BY YOUR UNCLE, AND MY BROTHER  A MOST FOWL AND UNNATURAL MURDER
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shoulderblades: palace of tears, nelly agassi, 2002 at the center of the exhibition space stands a young woman, wearing a simple skin-colored dress; hundreds of strips made of similar fabric are suspended from various points on the four walls surrounding her. some trail on the floor, reaching her feet, others look as though they are already, somehow, connected to her dress. she bends, picks up a strip of fabric from the floor, sews it onto her dress, and so on and so forth. strip after strip, hour in hour out, in a cyclical, sequential act, until no more fabric strips remain on the floor, and she appears inseparably connected to the walls of the exhibition space.
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mfjr: Flowers dipped in liquid nitrogen and then smashed.

Norman always looks like someone just hit him with a baseball bat

and he needs a shower

THIS BITCH IS KISSIN A DEAD BODY NO BAD 

oh god why am I watching hemlock grove at 11:30

Greek myrtle wreath, c. 330-250 BC. In ancient Greece, wreaths made from plants like laurel, ivy, and myrtle were awarded to athletes, soldiers, and royalty. Similar wreaths were designed in gold and silver for the same purposes or for religious functions. This example conveys the language of love. A plant sacred to the goddess Aphrodite, myrtle was a symbol of love. Greeks wore wreaths made of real myrtle leaves at weddings and banquets, received them as athletic prizes and awards for military victories, and wore them as crowns to show royal status.  By the Hellenistic period (300-30 BC), the wreaths were made of gold foil; too fragile to be worn, they were created primarily to be buried with the dead as symbols of life’s victories. The naturalistic myrtle leaves and blossoms on this wreath were cut from thin sheets of gold, exquisitely finished with stamped and incised details, and then wired onto the stems. Most that survive today were found in graves.