John Nash, Misbourne Valley, Chalfont St. Peter, 1915.Â
Pencil, watercolour, chalk and ink on paper.Â
Collection of Allen and Beryl Freer

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John Nash, Misbourne Valley, Chalfont St. Peter, 1915.Â
Pencil, watercolour, chalk and ink on paper.Â
Collection of Allen and Beryl Freer
Louise Bourgeois
more
Ana Mendieta, Creek, 1974.Â
Super 8 Film. © The Estate of Ana Mendieta Collection, LLC.,Courtesy Galerie Lelong & Co.
Channa Horwitz, music notation
She is recognized for the logically-derived compositions created over her five decade career. Her visually complex, systematic works are generally structured around linear progressions using the number eight.
André Derain, Sorrowful Landscape, 1946
Kaii Higashiyama, Sound of Waves
Book of Hours Folio #: fol. 106v Manuscript White cat playing an organ. Miniatures attributed to the Boucicaut Master. The calendar and most of the borders were completed in the 15th century, second half. Bodleian Library, University of Oxford
HENRI GHENT: You mentioned that you were accompanied on this trip to the Caribbean by your wife and—was it Gippo?
ROMARE BEARDEN: Well, I have a cat—Gippo the cat. And we didn’t know what to do with Gippo so we just took him.
HENRI GHENT: How old is Gippo?
ROMARE BEARDEN: Gippo will be six in August. When we got back Gippo was the official mascot of the ship. People loved Gippo and he loved the ship and he didn’t want to leave because they fed him nearly a pound of calves liver every day. He just loved it.
HENRI GHENT: Describe him.
ROMARE BEARDEN: Well, Gippo is I think a very handsome cat. He’s perfectly symmetrically striped with gray and tan markings. We found him in the woods and he has a little wildcat in him and it took a long time, about six or eight months, when he was a young kitten, to get him trained. But now he’s happy. The studio he feels is his. It’s hard to keep a cat like that for any length of time in a cage at a veterinarian’s. So we took him and it worked out quite all right. We couldn’t take him to some of the islands, like Barbados, for instance, because of . . . .
HENRI GHENT: The quarantine laws.
ROMARE BEARDEN: Yes, the quarantine laws.
HENRI GHENT: In researching some material on you I noticed that there was a cat in very many of the informal photographs. Was that Gippo?
ROMARE BEARDEN: That was Gippo, yes.
HENRI GHENT: He’s quite a star in his own right then, isn’t he?
ROMARE BEARDEN: Well, I keep telling my wife that she should have trained Gippo and used him for ads for cat food and those things because he’s a natural ham. And he’s such a handsome cat that he’d have been a perfect model.
HENRI GHENT: He loves to be photographed then? ROMARE
BEARDEN: Oh, he loves that attention.
(interview from the archives of american art)
Terrible battle
David Hockney Black Cat Leaping, 1969
(sorry wrong folder)
Maurits Cornelis Escher, Aloe Plant
Albrecht Dürer, Studies of a Tree Bullfinch, c.1500
Victor Vasarely, Italian magazine cover, 1963
Duane Michals appears on several episodes of this Yale sponsored art podcast. And they mention that Michals had a series of PDFs he made to send to friends starting in 2020 during the pandemic, where he takes items from his archive, new drawings, etc. And the archive (with the short emails he attached them to) has 87 PDFs linked. They also link to his Vimeo account, with dozens of shorts. One of the PDFs, called Phartography, has an overpainted Cartier-Bresson photo.
Keith Arnatt, Self-Burial (Television Interference Project), 1969
Fritz Capelari
Nude Woman Holding a Black Cat
1915