no where left
I like art. i love all things life, death, and in between. sometimes i'll post personal things, you will know when you see AVB.
no where left
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msmildred:

Marilyn Monroe photographed by John Vachon, 1953.
msmildred:

Marilyn Monroe photographed by John Vachon, 1953.
oddmomentscollide:

better now
urban-prairie-dye-project:

Milena Silvano
books0977:

Girl Writing (1931). Harold Knight (English, 1874-1961). Oil on canvas. Grundy Art Gallery.
Knight studied at Nottingham School of Art under Wilson Foster. At the School of Art he met fellow artist Laura Johnson, whom he married in 1903. As Laura Knight, she became well known for her paintings of scenes from the ballet and circus.
monsieuruntitled:

Joseba Eskubi
italdred:

(by Sara*soularchitect*)
motherearthnewsmag:

Grafting for a Tree Makeover
By Lee Reich
I grow about two dozen varieties of pear, all trees I made myself by growing rootstocks from pear seeds and grafting onto those rootstocks one or more stems (known as scions) of a variety I want to grow. (Pears on seedling rootstocks grow very large and I’m afraid of heights. So I usually make dwarf trees by grafting scions onto scions of special dwarfing rootstocks that, in turn, get grafted on the seedling rootstocks.)
tearingdowndoors:

manyfires
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likeafieldmouse:

Jay DeFeo - The Rose (1958-69)
“The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking Christian bothers brandy while she painted and scraped away at her vision.
First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door. 
At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
likeafieldmouse:

Jay DeFeo - The Rose (1958-69)
“The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking Christian bothers brandy while she painted and scraped away at her vision.
First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door. 
At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
likeafieldmouse:

Jay DeFeo - The Rose (1958-69)
“The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking Christian bothers brandy while she painted and scraped away at her vision.
First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door. 
At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
likeafieldmouse:

Jay DeFeo - The Rose (1958-69)
“The story of Jay DeFeo and The Rose is both a cautionary tale of obsession and an inspiring tale of determination and belief. She began working on The Rose in 1958. She was 29 years old and for the next eight years, she did little else but sit on a stool in her studio, smoking cigarettes, drinking Christian bothers brandy while she painted and scraped away at her vision.
First titled The Deathrose, then The White Rose and finally just The Rose, DeFeo only stopped working on the painting when an increase in rent forced her from her studio. By then it was 1966, her marriage was ending, she was in fragile physical and mental health, and The Rose had become too large to fit out the door. 
At nearly 12 feet high and in places eight inches thick, The Rose was constructed from layer upon layer of built up and scraped away black and white paint. DeFeo added mica chips to the paint and so The Rose has its own interior light.”
comeonpetunia:

I just want to know how…
lariwashburn:

(via Abstract)