We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defense, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.
According To All Known Laws of Aviation
There Is No Way a Bee Should Be Able To Fly
It’s Wings Are Too Small To Get Its Fat Little Body Off The Ground
The Dexterity of God
Somebody Once Told Me
The Bee, of Course, Flies Anyway
Cotton Eye Joe
Vladimir & Donald
Because Bees Don’t Care What Humans Think Is Impossible
Arise, Fair Sun, and Kill The Envious Moon
Epoch of Incredulity
Whom es Abby Lee?
The Relative Stabilities of Molecular Structures
A set of chemical symbols showing the elements present in a compound and their relative proportions, and in some cases the structure of the compound
But your leg! AH! It’s caught in a bear trap!
P. Sherman 42 Wallaby Way Sydney (requested to be added on by anon)
Masami Teraoka (1936- ) 1888 Oiran and Mirror, from the Aids Series (Smithsonian American Art Museum, Washington DC) by Milton Sonn
Oiran and Mirror, from the AIDS Series
15 x 22 ¼ in.
Smithsonian American Art Museum, Museum
Masami Teraoka (born 1936) is a Japanese-American contemporary artist. His work includes ukiyo-e-influenced woodcuts and paintings. Teraoka was born in Onomichi in Hiroshima prefecture. He studied from 1954-59 at the Kwansei Gakuin University in Kobe, Japan where he received his B.A. in Aesthetics. He moved to the United States in 1961 and from 1964-68 attended the Otis Art Institute he received a B.F.A. and M.F.A.
His early work consisted primarily of watercolor paintings and prints that mimicked the flat, bold qualities of ukiyo-e woodblock prints. These paintings, done after his arrival in the United States, often featured the collision of the two cultures. Series such as McDonald’s Hamburgers Invading Japan and 31 Flavors Invading Japan characterize themes in the work in this time period. These pieces blended reality with fantasy, humor with commentary, history with the present.
In the 1980s, Teraoka shifted palette and scale to depict AIDS as a subject, transforming his ukiyo-e derived paintings into a darker realm. Since the late 1990s, he has been producing large-scale narrative paintings addressing social and political issues, especially abuse in the Catholic Church. These large-scale paintings are inspired by well-known Renaissance paintings, rather than by Japanese woodblock prints.
Teraoka has been the subject of more than 70 solo exhibitions, many of which have traveled extensively, including those organized by the Whitney Museum of American Art in 1980; The Contemporary Museum, Honolulu in 1988; and the Yale University Art Gallery in 1998. Also in 1996 he was featured in a solo exhibition at the Arthur M. Sackler Gallery, Smithsonian Institution and in 1997 at the Asian Art Museum, San Francisco. His work is in more than 50 public collections worldwide.
People in the real world always say, when something terrible happens, that the sadness and loss and aching pain of the heart will ‘lessen as time passes,’ but it isn’t true. Sorrow and loss are constant, but if we all had to go through our whole lives carrying them the whole time, we wouldn’t be able to stand it. The sadness would paralyze us. So in the end we just pack it into bags and find somewhere to leave it.
Fredrik Backman, My Grandmother Asked Me to Tell You She’s Sorry
Every time you see someone’s bright-and-shiny, remember: They have their own crappy truths too. Of course they do. And every time you see your own crappy truth and feel despair and think, ‘Is this my life?’, remember: It’s not. Everyone’s got a bright-and-shiny, even if it’s hard to find sometimes.