Naudline Pierre (Haitian-American, 1989) - Mythic (2024)
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Cosmic Funnies
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Naudline Pierre (Haitian-American, 1989) - Mythic (2024)
by Joan Miró, 1968
by Jessica Jackson Hutchins
Kiki Smith — “Sentry” (bronze sculpture, 2020)
Natalia Gonzalez Martin (Spanish, 1995) - My Sin Always Before Me (2025)
White Rit by Vanessa German. American, 2013.
Raclin Murphy Museum of Art, University of Notre Dame.
Matraka
Kawanabe Kyosai, White Heron in the Rain, colour woodblock print, Japan, 1880
by Julie Poly
Angelo Figus, Graduate collection Cuore di cane, 1999 follow on Instagram for more
'black cats' shot by nina schultz in detour magazine october 1998
I am a bird girl I am a bird girl I am a bird girl I'm a bird girl now Now I've got my heart Here in my hands Now I've got my heart Here in my hands now I've been searching For my wings I've been searching For my wings some time I'm gonna be born Gonna be born into soon the sky I'm gonna be born Into soon the sky 'Cause I'm a bird girl And the bird girls go to heaven I'm a bird girl And the bird girls can fly Ooh, bird girls can fly Bird girls can fly Bird girls can fly
June Leaf (1929 - 2024) was born in Chicago and knew from a very young age that she wanted to work with her hands, especially inspired by watching her mother sew. She recalled in a 2016 interview with Hyperallergic that she had asked her mother to draw her a high-heeled shoe and proceeded to describe everything that was wrong with it, soon learning that she must take matters into her own hands in order to transcribe the world around her. That lesson expanded during grade school, when she developed an affinity for drawing but found out that the other half of the battle was making others see her work.
"June Leaf uses traditional supports for painting and drawing—canvas and paper—but also more unusual surfaces such as sheets of metal, this being one of her primary sculpting materials. She rarely starts with a pristine surface, because objects often inhabit her space over time and develop a life there before becoming part of her art. Thus Leaf’s methods and studio environment account, in some measure, for the rich and complex textures and the extraordinary interplay between medium and support that is a particularly recognizable quality of her drawings. This is one reason why many of them seem to capture and record a moment seized out of a state of flux. Leaf continuously shifts her studio’s contents, and her images, which resolve themselves from this slow, steady flow of materials, seem as though they might dissolve back into it once again. This is especially apparent when watching her create. Some of her pieces—especially the drawings—have the paradoxical quality of feeling both resolved and unfinished. One feels their churning texture in numerous ways. A sheet will pick up a history before she uses it, collecting marks, stains, bends, folds, and the like. In her studio, the continuity between wall, floor, paper, and canvas is striking. She works her surfaces over and over and over, constantly switching materials, scraping back, washing off, wiping down, and building back up again."
Sigmar Polke
Mary Lovelace O'Neal (1942 – 2026) was an American visual artist and educator. Her work is focused on abstracted mixed-media (primarily in painting and printmaking) and minimalism. She was a professor emeritus at the University of California, Berkeley, where she retired from teaching in 2006.O'Neal's art has been exhibited widely throughout North America and internationally, with group and solo shows in Italy, France, Chile, Senegal, and Nigeria. She lived in Oakland, California, and maintained a studio in Chile, and later in Mexico.
https://www.nytimes.com/.../mary-lovelace-oneal-activist...