Good day to you.

• 2013-02-03 27 notes

  

  Source: lolicage

• 2013-02-02 41 notes

  

  Source: lolicage

• 2013-01-20 148 notes

  

  Source: lolicage

• 2013-01-17 22 notes

  

  Source: lolicage

• 2013-01-13 21 notes

  

  Source: lolicage

• 2013-01-12 18 notes

  

  Source: lolicage

• 2013-01-11 17 notes

  

  Source: lolicage

• 2013-01-07 47 notes

  

  Source: lolicage

• 2013-01-06 33 notes

  

  Source: lolicage

• 195 notes

  

  Source: lolicage

• 2013-01-02 34 notes

  

  Source: lolicage

• 2012-12-27 11 notes

  

  Source: lolicage

• 2012-12-26 20 notes

  

  Source: lolicage

• 2012-12-24 38 notes

  

  Source: lolicage

• 8 notes

  For a long time now, it has been assumed that there can be no authentic creation in high art which is not in some way a ‘challenge’ to public culture. Art must give offence, stepping out armed against the bourgeois taste for the conforming and the comfortable, which are simply other names for kitsch and cliché. The result of this is that offence itself becomes a cliché. If the public has become so immune to shock that only a dead shark in formaldehyde will awaken a brief spasm of outrage, then the artist must produce a dead shark in formaldehyde — this, at least, is an authentic gesture. In place of the late American art critic Harold Rosenberg’s ‘tradition of the new’, we have the ‘cliché of the transgressive’ — a repetition of the would-be unrepeatable.

  — Roger Scruton (via nydwracu)

  (via nihtbealwa)

  Source: aeonmagazine.com