Yi Yi , Edward Yang , 2000.

not all of it is bad i think….…. we are going to be okay i think.

Watch: Fox News sent a reporter to Princeton to make fun of “sensitive” college students

and i don't necessarily believe any of this i'm just saying words recreationally

My father has gotten really into flashback Friday. He posted these pictures of myself at about 5 years old and my little sister at about 3 (our baby sister was still a bun in the oven here) at the Exploratorium circa 1995. I figured this was the perfect opportunity to thank you for sparking such an interest in me as a child. There are no other scientists in my family, and no other girls around me were interested in science. I really credit family trips to places like this for turning the wheels in my brain. I’m now pursuing my master’s degree in environmental biology at the University of Eastern Finland, and both sisters have chosen nursing. Thanks for all the science, Exploratorium, and please continue to inspire!

Ease, technology, art, and fun come together in the living room. The industrial-style shelves are colorfully balanced by a papier-mache rocking horse, a Moroccan rug, and a mixed-media composition of rice paper, photographs, and tempera.

Rooms by Design, 1989

on love❣️

i can’t think of any greater happiness than to be with you all the time, without interruption, endlessly, even though i feel that here in this world there’s no other undisturbed place for our love, neither in the village nor anywhere else; and i dream of a grave, deep and narrow, where we could clasp each other in our arms as with clamps, and i would hide my face in you and you would hide your face in me, and nobody would ever see us any more. (franz kafka)

this post:

“does she love you?” “yes” “did she say so?” “no” “so how do you know?” “well… each time she returns my books, there are flowers inside” (…) “does she read them?” “of course she does!” “does she? have you asked her?” “i can see she’s underlined the good bits” “does she want to save mankind too?” “yes” “how do you know?” “by the sentences she underlines” “is that enough to know she wants to save mankind?” “yes” (a moment of innocence, 1996)

that’s not what i meant to say at all / i mean, i’m sick of meaning i just wanna hold you (…) those are you got some nice shoulders / i’d like to put my hands around them (car seat headrest)

peaceful embrace by briony marshall:

“hey,” he said, half asleep, “what were you before you met me?” / “i think i was drowning.” / a pause. / “and what are you now?” he whispered, sinking. / i thought for a second. “water.” (ocean vuong)

i love you. i want us both to eat well. (christopher citro)

come let me love you, let me give my life to you / let me drown in your laughter, let me die in your arms / let me lay down beside you, let me always be with you / come let me love you, come love me again (john denver)

this painting by salman toor:

i could say something fantastically rare and exotic but really, love is the rarest thing of all. (roja dove)

don’t think i fell for you, or fell over you. i didn’t fall in love, i rose in it. i saw you and made up my mind. (toni morrison)

you kiss the back of my legs and i want to cry. only the sun has come this close, only the sun. (shauna barbosa)

oh! if you could only walk / into this room / again and touch me anywhere / i swear / i would not long for heaven or / for earth / more than i’d wish to stay there / touched / and touching you (june jordan)

this:

i wanted to tell them that i never knew that people like Dante existed in the world, people who looked at the stars, and knew the mysteries of water, and knew enough to know that birds belonged to the heavens and weren’t meant to be shot down from their graceful flights by mean and stupid boys. (benjamin alire sáenz)

from here:

someone will remember us / i say / even in another time (sappho)

i have let tenderness in. every night i am coming home to warm food and lamplight leaking out of the windows into the night, and tenderness is holding the door open. (oumaima @douceurs)

that’s how i loved you. / you, off the long train from red bank carrying / a coffee as big as your arm, a bag with two / computers swinging in it unwieldily at your / side. i remember we broke into laughter / when we saw each other. what was between / us wasn’t a fragile thing to be coddled, cooed / over. it came out fully formed, ready to run. (ada limón)

trevante rhodes about moonlight:

Well Marianne, it’s come to this time when we are really so old and our bodies are falling apart and I think I will follow you very soon. Know that I am so close behind you that if you stretch out your hand, I think you can reach mine. (leonard cohen to marianne ilhen)

Couple on a train, photo by Vivian Maier, 1956

watched this for the first time when i was 14 i think? it saved me

Mark Rothko, The Dark Paintings of 1969-1970, 

Part One

The Black on Gray paintings were Rothko’s final series. Like the Brown and Gray works on paper, color has been extracted to a dark upper and a lighter lower section. Most striking is the painted white edge within which the composition is circumscribed. In all of Rothko’s earlier work the edges of his paintings folding around the stretcher had been meticulously painted. In marked contrast, the white surround of the Black on Gray paintings sharply demarcates the painted surface and collapses the pictorial space into a much flatter picture plane.

Previously, Rothko had used a mixture of rabbitskin glue and pigment to douse his canvases in a first layer of colour. The Black on Gray paintings, however, were primed with white gesso which shows through in various areas, further contravening any illusion of pictorial depth. Unlike the Brown and Grays, where the variations occur within a fixed format, the Black on Gray paintings substantially vary in size and orientation, each offering a completely unique exploration of scale and ‘weight’.

The Black on Gray paintings bear witness to the tireless effort with which Rothko kept pushing the boundaries of his practice; which may also explain why one evening in late 1969 he opened his studio to select members of the New York art world to view his latest paintings, the first and only time he presented a series as such.