the art shelf

[kundst]

Judie Chicago (US 1939)

Wrestling with the Shadow for Her Life’ (2024)

[theartshelf]

Ronald Jackson

Arrival, 2024, oil on canvas, 66x72 in.

[oncanvas]

We Are Pro-Choice, Nancy Spero, 1992

Screenprint on paper 16.61 x 26.18 in. (42.2 x 66.5 cm) Des Moines Art Center, Des Moines, IA, USA

[letargos]

Joan Jonas & Gina Pane - Parallel Practices, 1969

[theartshelf]

Not Sorry Art (Sari Shryack) - Disco Ball series

[pmamtraveller]

Claude Monet by Thomas Bossard

[agelessphotography]

Smoke Bodies from the On Fire portfolio, Judy Chicago, 1972

[arinewman7]

Private Notes No. 1

Zhang Xiaogang

oil on canvas, 1990

[boobookittenartblog]

Ulla Thynell. Night Garden (2024).

[pypedreams]

artist: Mona Sugata

exhibition: What Resonates Through Us — Echoes in Overtones

Galerie Ovo, Taipei, Taiwan

[gliklofhameln]

Poster by Arthur Szyk for the Jewish Book Council of America/National Jewish Welfare Board, 1947.

[earhartsease]

The Spilhaus Projection. In 1942, Athelstan Spilhaus produced a world map with a unique perspective, presenting the world's oceans as one body of water.

[interventionlullabies]

Augustus John, The Marchesa Casati, 1919

[psikonauti]

Judy Chicago (American, b. 1939)

Through the Flower 2, 1973

sprayed acrylic on canvas

[weepingwidar]

Noorain Inam (Pakistani, 1998) - The Geography of a Dream (2025)

[woundgallery]

“Der Schrei Der Natur” - Anniek Kortleve, Antonia Wilson, Othilia Simon & Nadia Giramata by Charles Fréger for Pop Magazine F/W 2012 Supplement

[books0977]

The Deaf Man Heard the Dumb Man Say That the Blind Man Saw the Lame Man Run (c.1940s). Michael Lenson (American, 1903-1971). Oil on canvas.

Lenson exhibited at several New York City galleries, including Kende Gallery in 1951. A New York Times review said: “The wittiest paintings of the week are those by Michael Lenson at the Kende Gallery. He paints with some sort of synthetic resins and lacquer and the resulting surfaces, not pleasing to the eye, are as hard and unyielding as the whip-like profilings that imprison his mannered figures. A good deal of imagination goes into these figures, which move from reality to fantasy with the professional ease of ballet dancers.”