Alexander Dominguez 

09.18.14 /18:29/ 1618

Margot Tenenbaum Badge Set // $2

I want, I need
09.18.14 /18:27/ 205


if i ever stop reblogging this assume I am dead

09.18.14 /00:31/ 2176
09.18.14 /00:24/ 54

Belly rub
09.18.14 /00:18/ 552
09.18.14 /00:16/ 990

Warsan Shire (via casismyfavoritecolor)

I remind myself of this every day and every day that I stick to it I shape my environment to be a safer, better place for me and the people I love. 

(via arabellesicardi)

09.18.14 /00:15/ 2641

  Federico Zandomeneghi, A letto (In bed), 1878, Firenze, Galleria d’arte moderna di Palazzo Pitti, olio su tela, 61 x 74 cm
09.18.14 /00:14/ 592


Happy National Poetry Month from this first grader:
We did the soft wind.We danst slowly. We swrld aroned.We danst soft.We lisin to the mozik.We danst to the mozik.We made personal space.

i want to do the soft wind
09.17.14 /23:58/ 7763



Hidden Mother

"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different storyparticularly when it came to tintype portraits, which required a long exposure. 

Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 

In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 

The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  


feeling a little homesick 4 sicily 

babbby, always
09.17.14 /21:49/ 6
Canvas  by  andbamnan