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18. new york. graphic design student.
I like big ideas, coffee, & strange feelings. Learning to appreciate the subtleties of life.

I G

vuls:

This was fun to draw

hell yeah
lighter
"Sometimes I remind myself that I almost skipped the party, that I almost went to a different college, that the whim of a minute could have changed everything and everyone. Our lives, so settled, so specific, are built on happenstance."
Every Last One (Anna Quindlen)
bigmagnets:

Samüel Johnson
totally should be writing r.n. lol
live from english class hi my name is ian
also the flash totally went off and it’s dark in here

Moonrise over Esja, a winter afternoon in Reykjavík. December 2010.
design-is-fine:

Adolf Richard Fleischmann, Relief painting #19x, 1960/61. Oil and corrugated board on canvas. Daimler Art Collection.
philamuseum:

Staff Pick: The history of nude sculptures in America is a complex one. Victorian-era Americans clung to their deep Puritan roots well into the 1800s, essentially requiring artists to provide explicit written explanations on how to interpret nude statues in a moral and chaste way. Hiram Powers, keenly aware of the strict social mores of his audience, did just that when he introduced his famous sculpture, “The Greek Slave,” in 1844. Here you see a bust of the original full-bodied work carved in white marble; this medium, preferred for nude sculptures at the time, disallowed for indecent thoughts and ultimately promoted two female ideas: purity and virginity. An account of Turkish slavery during warfare, the statue also communicates Powers’s powerful feminist and abolitionist ideals during a time when gender inequality still plagued American society.”Bust of ‘The Greek Slave,’ ” 1846–73, by Hiram PowersSee more of Powers’s work here.