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An exploration, examination and discovery of the underlying meanings that can be found within even the most mundane and seemingly familiar moments, actions, and objects of everyday life. (Gude, 2004)

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Fact: If you watch " New Girl," you love Nick Miller.

You can't help it. He's an adorable, lovable mess of a man and you look forward to seeing him and his shenanigans each week. While living the infamous and incomparable life of Nick Miller, and obviously Julius Pepperwood- he has learned many valuable laws of the land. And, although Nick refuses to learn anything from anyone besides his mysterious, old Asian friend Tran, he does have a few lessons he'd like to teach us.

Here are 35 facts of life according to 'Nick Milla Nick Milla':

1. Drinking keeps you healthy.

"I'm not gonna get sick. No germ can live in a body that is 65% beer."

2. Dinosaurs never existed.

"I don't believe dinosaurs existed. I've seen the science. I don't believe it."

3. A paper bag is a bank.

"A bank is just a paper bag but with fancier walls."

4. Having sex is similar to delivering mail.

"I'm like a mailman, except instead of mail it's hot sex that I deliver."

5. Moonwalking is a foolproof way to get out of any awkward situation.

Jess (about Nick): "Now he won't even talk to me. I saw him this morning and he just panic moonwalked away from me. He does that sometimes."

6. Using a movie reference is also a great way.

Cece: "Come on, get up!"

Nick: "No, I don't dance. I'm from that town in "Footloose."

7. There's no reason to wash towels.

Nick: "I don't wash the towel. The towel washes me. Who washes a towel?"

Schmidt: "You never wash your towel?"

Nick: "What am I gonna do? Wash the shower next? Wash a bar of soap?"

8. Exes are meant to be avoided at all costs (especially if/unless they're Caroline)

"I don't deal with exes, they're part of the past. You burn them swiftly and you give their ashes to Poseidon."

9. IKEA furniture is not as intimidating as it looks.

"I'm building you the dresser. I love this stuff. It's like high-stakes LEGOs."

10. You don't need forks if you have hands.

Jess: "That's gross. Get a fork, man."

Nick: "I got two perfectly good forks at the end of my arms!"

11. Sex has a very specific definition.

"It's not sex until you put the straw in the coconut."

12. Doors are frustrating.

"I will push if I want to push! Come on! I hate doors!"

13. All booze is good booze.

"Can I get an alcohol?"

14. ...unless it's weak booze.

"Schmidt, that is melon flavored liquor! That is 4-proof! That is safe to drink while you're pregnant!"

15. Writers are like pregnant women.

Jess: "You know what that sound is? It's the sound of an empty uterus."

Nick: "I can top that easily. I'm having a hard time with my zombie novel."

Jess: "Are you really comparing a zombie novel to my ability to create life?"

Nick: "I'm a writer, Jess. We create life."

16. All bets must be honored.

"There is something serious I have to tell you about the future. The name of my first-born child needs to be Reginald VelJohnson. I lost a bet to Schmidt."

17. Adele's voice is like a combination of Fergie and Jesus.

"Adele is amazing."

18. Beyoncé is extremely trustworthy.

"I'd trust Beyoncé with my life. We be all night."

19. Fish, on the other hand, are not.

"Absolutely not. You know I don't trust fish! They breathe water. That's crazy!"

20. Bar mitzvahs are terrifying.

Schmidt: "It's a bar mitzvah!"

Nick: "I am NOT watching a kid get circumcised!"

21. ...so are blueberries.

Jess: "So far, Nick Miller's list of fears is sharks, tap water, real relationships..."

Nick: "And blueberries."

22. Take your time with difficult decisions. Don't be rash.

Jess: "You care about your burritos more than my children, Nick?"

Nick: "You're putting me in a tough spot!"

23. Getting into shape is not easy.

"I mean, I'm not doing squats or anything. I'm trying to eat less donuts."

24. We aren't meant to talk about our feelings.

"If we needed to talk about feelings, they would be called talkings."

25. We're all a little bit too hard on ourselves.

"The enemy is the inner me."

26. Freezing your underwear is a good way to cool off.

"Trust me, I'm wearing frozen underpants right now and I feel amazing. I'm gonna grab some old underpants and put a pair into the freezer for each of you."

27. Public nudity is normal.

"Everbody has been flashed countless times."

28. Alcohol is a cure-all.

"You treat an outside wound with rubbing alcohol. You treat an inside wound with drinking alcohol."

29. Horses are aliens.

"I believe horses are from outer-space."

30. Turtles should actually be called 'shell-beavers.'

Jess: "He calls turtles 'shell-beavers."

Nick: "Well, that's what they should be called."

31. Trench coats are hot.

"This coat has clean lines and pockets that don't quit, and it has room for your hips. And, when I wear it, I feel hot to trot!"

32. Sparkles are too.

"Now, my final bit of advice, and don't get sensitive on this, but you've got to change that top it's terrible and you've got to throw sparkles on. Sparkles are in. SPARKLES ARE IN."

33. Introspection can lead to a deeper knowing of oneself.

"I'm not convinced I know how to read. I've just memorized a lot of words."

34. It's important to live in the moment.

"I know this isn't gonna end well but the middle part is gonna be awesome."

35. Drinking makes you cooler.

Jess: "Drinking to be cool, Nick? That's not a real thing."

Nick: "That's the only thing in the world I know to be true."

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What Andy Warhol's 'Campbell's Soup Cans' Teaches Us About Consumerism

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Fact: If you watch " New Girl," you love Nick Miller. You can't help it. He's an adorable, lovable mess of a man and you look forward to seeing him and his shenanigans each week. While living the infamous and incomparable life of Nick Miller, and obviously Julius Pepperwood- he has learned many valuable laws of the land.

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Andy Warhol

Andy Warhol (1928-1987), one of the most prolific artists of his generation, was a pioneer of American Pop art and arguably became its most important protagonist. He was fascinated by ideas of abundance and the rise in consumer culture and mass production. Many of his most acclaimed works use imagery from pre-existing commercial sources - product packaging and photographs reproduced in the media - that were immediately identifiable to the viewer.

Warhol's early works included large canvases of repeated dollar bills, Coca-Cola bottles and Campbell's soup cans that alluded to the boom in consumerism. He began to use silk-screening in 1962, a technique that allowed him to repeat motifs on a large scale and mimicked commercial methods of mass production. By doing so the objects he chose to depict became increasingly banal and depersonalised.

Intrigued by the cult of celebrity, Warhol produced a number of portraits of iconic figures from the worlds of film, music and art. These portraits would often come from pre-existing publicity photographs and were also created using his mechanised method of silk-screening. The brightly coloured images were produced over and over again, a further comment upon the consumption and consumerism that had come to define contemporary American life.

Warhol also produced works that depicted disaster and death, using press photographs, to explore the mass media's compulsive fascination with tragedy. However, his depiction of death was not always explicit. In a number of works he simply used images which alluded to it, such as in the Electric Chair series, as a comment on the media's ability to create morbid curiosity.

The Cow Wallpaper was first used by Warhol in an installation at the Leo Castelli Gallery, New York in 1966. It was created by silk-screening a picture of a cow's head found in an agricultural magazine.

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The Twentieth Century: Andy Warhol | Tate

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Andy Warhol (1928-1987), one of the most prolific artists of his generation, was a pioneer of American Pop art and arguably became its most important protagonist. He was fascinated by ideas of abundance and the rise in consumer culture and mass production.

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Aboriginal Art educator-led session (S2 - S3) - Australian Museum

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Students explore Indigenous culture through art and design and create an artwork of their own.

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From June 26 through October 12, the Solomon R. Guggenheim Museum will present the first major retrospective of the searing, deeply poetic work of the internationally influential artist Doris Salcedo (b. 1958, Bogotá). Over the past three decades, Salcedo has created sculptures and installations that address the traumatic history of modern-day Colombia, as well as wider legacies of suffering stemming from colonialism, racism, and other forms of social injustice across the world. Installed within all four of the Tower Levels of the museum, the exhibition will occupy approximately half of the Guggenheim's gallery space and will feature the artist's significant bodies of work from the late 1980s to the present.

Informed by in-depth research during which the artist solicits firsthand testimonies from victims of violent oppression, Doris Salcedo's sculptures and site-specific interventions forgo the direct representation of atrocities in favor of evocative installations fashioned from disarming materials and through intensely laborious techniques. By paradoxically giving form to that which is absent, she creates objects and spaces of quiet remembrance and communal mourning. Salcedo has written, "The only concern of my work is what happens to human beings assaulted by violence. . . . the only possible response I can give in the face of irreparable absence is to produce images capable of conveying incompleteness, lack, and emptiness."

From the outset of her career, Salcedo has employed the strategy of transmuting common domestic objects into vessels freighted with memories and submerged narratives. The earliest works featured in the exhibition incorporate hospital furniture that has been altered by the presence of animal fiber and plastic doll parts. The skeletal frames of hospital cots also are used in the installation Untitled (1989-90/2013), in this case arrayed in bleak formation with eleven stacks of crisply laundered white shirts. The shirts, which might otherwise evoke the comforting harmony of a well-run home, are impaled by steel rebar in an image of violent incursion. These sculptures are, in part, oblique responses to tragic situations in Colombia, but their embodiment of the experience of irreparable loss achieves universal resonance.

Her seminal work Atrabiliarios (1992-2004) creates a chapel-like environment in which a series of wall niches enshrine worn shoes. Covered with pieces of semitranslucent animal fiber sutured to the wall with large, uneven stitches, the shoes are only partially visible, giving them the hazy remove of a fugitive memory. In one of the galleries the artist will configure sculptures from her celebrated body of work dating from 1989-2008, comprised of pieces of domestic furniture that have been suffused with concrete, as if muted and immobilized by the weight of grief. Other series that conjure the complex operation of mourning and memory include La Casa Viuda (1993-95), in which the artist combined disjunctive architectural elements with scraps of fabric and fragments of bone, and Unland (1995-98), in which mismatched tables are forced together, their surfaces populated with an intricate mesh of thread and human hair.

The exhibition will also feature two of Salcedo's most recent major installations, both of which draw on overtly funereal symbolism yet propose a sense of magic in the apparent impossibility of their materials. In Plegaria Muda (2008-10), viewers are surrounded by a labyrinthine arrangement of units formed from pairs of tables, one inverted on top of the other, through which blades of real grass improbably sprout. The tables approximate the size of human bodies, and together they recall a mass grave, their verdant surfaces suggestive of nature's power to both heal and erase. A Flor de Piel (2012) is an enormous shroud created in homage to a nurse who was tortured and murdered in Colombia. Its undulating fabric is painstakingly stitched together from chemically preserved rose petals-a material replete with romantic associations that at the same time mimics the appearance of flayed skin. A similar dichotomy between horror and fragile beauty charges Salcedo's most recent series, Disremembered (2014). Woven from innumerable strands of silk thread and burnt needles, these works take the form of garments that would harm rather than comfort or protect the wearer.

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From June 26 through October 12, the Solomon R. Guggenheim Museum will present the first major retrospective of the searing, deeply poetic work of the internationally influential artist Doris Salcedo (b. 1958, Bogotá).

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If you're in New York and you like Yayoi Kusama there's a rare opportunity to see some of her drawings from the 1950s at the D'Amelio Gallery, on West 22nd Street. "Drawings from the mid-50s" includes drawings undertaken in Japan between 1953 to 1957, and show the artist beginning to explore her legendary dot fields.

Kusama moved to New York in 1958, reportedly bringing with her around 2,000 drawings and watercolours. The drawings were at one point in the collection of New York dealer Richard Castellane, who hosted a number shows with Kusama in the 1960s (including one apparently where she covered the floor in pasta. Kusama said at the time: "I have obsessions. The macaroni expresses my food compulsion. When I was a child, I used to tear clothing, papers, books into thousands of pieces. I fluctuate between feelings of reality and unreality."

Coinciding with the final stop of the Tate Modern's traveling retrospective currently on view at the Whitney Museum of American Art, the show provides an opportunity to see Kusama's recurring themes and motifs revealed through the intimate act of drawing. The D'Amelio show runs until October 20. The Whitney's Kusama retrospective closes at the end of this month.

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Yayoi Kusama early drawings on show | Art | Agenda | Phaidon

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If you're in New York and you like Yayoi Kusama there's a rare opportunity to see some of her drawings from the 1950s at the D'Amelio Gallery, on West 22nd Street. "Drawings from the mid-50s" includes drawings undertaken in Japan between 1953 to 1957, and show the artist beginning to explore her legendary dot fields.

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Frida Kahlo | Biography, Paintings, & Facts

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Frida Kahlo, Mexican painter known for her uncompromising and brilliantly colored self-portraits that confront such themes as identity, the human body, and death. Some of her notable paintings included Frieda and Diego Rivera (1931) and The Two Fridas (1939). Read more about Kahlo’s life and career.

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Frida Kahlo Biography With All Details | frida-kahlo-foundation.org

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Observing Frida Kahlo biography. From early years to education, personal life and style development. All about the superb artist | frida-kahlo-foundation.org