Apartamento, 2025 by Tim Braden (British, b. 1975); Oil on linen
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Apartamento, 2025 by Tim Braden (British, b. 1975); Oil on linen
Kevin Specht (American, born 1983)
Summer Chairlift 2, 2022
Acrylic on canvas
40 × 30 in (101.6 × 76.2 cm)
Private collection
Bed #2, Bienvenido Cruz, 2026/04/22. Watercolor on paper, ~4.75x30in.
Testing out my new Analog Object Concertina sketchbook prototype.
John Gillo (British Artist, born 1948)
"Rivermouth", 2013.
Acrylic on Canvas, 40.8 x 50.8 cm.
Private Collection.
M.C. Escher | METAMORPHOSIS II (1940)
woodcut in red and black, 19.2cm x 400cm
lol took me awhile to find this gif again… Escher is GOAT!
By Nicholas Galanin, currently housed at the Seattle Art Museum
Full item description: Galanin’s work engages themes of persistence, power, and survival in the face of settler colonialism and its legacies of institutional racism and collective amnesia. Here, the floor plan of the British Museum is painted over a blue field. Pictograms of baskets, masks, woven hats, weapons, tools, and textiles reference the contested objects held in the museum’s collection, while a red line maps an escape route for these examples of Indigenous cultural production. In many Native cultures, hide paintings relay histories across generations and objects embody lineages; in referencing both, Galanin is proposing a getaway plan for his ancestors.
Close-up:
Onrie Radovic (Australian, 1985) - Refuge (2025)
Onrie Radovic (Australian, 1985), Refuge, 2025. Acrylic on aluminium, 124 x 93 cm.
Garrett Perry (American, b. 1984), (aint got nothing at all) Dreams Of You, 2024. Acrylic on paper, 12.5 x 14.5 inches.
artistsuniversum: “Kathin Marchenko is a textile artist and designer known for her expressive embroidery on delicate tulle fabric.
Using a "painting with thread" technique, she creates portraits, anatomical forms, and ethereal figures that seem to float within wooden hoops, blending craft with fine art.”
Artist: @kathrin_marchenko
#art #embroidery #artist #textileart
An assortment of paintings by Mark Rothko (1903-1970)
Fun fact, Rothko was commissioned to make massive paintings for a new Four Seasons restaurant that was being built. It was surprising he accepted the offer because making big money off a big business where people spend big money didn’t align with his values.
Turns out the plan was to make the diners in the restaurant choke on their food at the sight of the uncharacteristically DARK and brutalist paintings he made for the occasion.
I’m talking like, 9(?) 600 sq ft murals of black, grey and red. Normally his work is like what you see above.
He ended up backing out of the deal saying “Anybody who will eat that kind of food for those kind of prices will never look at a painting of mine.”
He gave the money he was paid by the four seasons back.
HE LATER DONATED THEM TO GALLERY IN LONDON
SO FOR YELLING I THINK ITS JUST SO COOL
Traditional Landscape (2024-2025) by Ken Fairclough
Quilt 1885
Artist/maker unknown, American Made for Sarah Minturn Bacon Edge (American, 1853–1916); made for Jacob Valentine Edge (American, 1841–1913)
Medium: silk and cotton blend satin, silk floss and chenille embroidery, silk cord trim with cotton core, cotton batting, silk taffeta lining
Philadelphia Museum of Art
Droodles by Roger Price (from his 1953 book). Droodles (a blend of “doodle”, “drawing”, “riddle”) are simple drawings with a witty, often absurd, caption. The first one, as some of you may know, was used by Frank Zappa for his 1982 album, Ship Arriving Too Late to Save a Drowning Witch. (Zappa, a fan of Price's work, lived just a few miles from the artist and personally sought permission to use the image.)
These come from the 1972 edition of the book.
Olaf Bisschoff — The Library of Babel (Jorge Luis Borges, 1941) oil and canvas, on board, 2023.
Bill Braun creates paintings that look like construction paper!
Scroll back up, that is PAINT
embroidery from peacockandpinecones my friends and I have been losing our minds over all morning.
Michael A Davenport, 3,090 Degrees Fahrenheit (Oil on canvas, 2025)
30in x 48in
From the artist’s Inprnt:
“3,090 degrees Fahrenheit is the temperature at which sand becomes glass, in a process known as the Pilkington Process. This is not the temperature of burning; this is the temperature of becoming something.”