Cy Twombly. 

The Yerres, Rain, Gustave Caillebotte, 1875

Mother and child #rust #abstraction

#JanangooButcherCherel, “Four Winds,” 2001, synthetic polymer on canvas. In “No Boundaries: #AboriginalAustralianContemporary” @pammpics from @schollcreative collex

Emily Kame Kngwarreye

Linear Yam Dreaming  -  1996

A NASA Engineer Turned Artist Whose Canvas Is a Huge Fish Tank

New York-based artist Kim Keever uses huge fish tanks (minus the fish) then drops in various colors of paint then photographs the resulting reactions.

Speaking of the process behind it, Keever says: “It took me about two years of imagining what it would look like to totally simplify my working process. When I finally tried just dropping paint into water and photographing the results through a 200 gallon aquarium wall, to my amazement, the paint dispersed in so many interesting ways. (…) Even after 20,000 shots I can’t predict which will be completely successful and only a fraction are printed. But I have accepted the lack of control and embrace the randomness.” 

Source: wired and blendimages

Yesterday I visited the exhibit, Everywhen: The Eternal Present in Indigenous Art from Australia at the Harvard Art Museum. It was an incredibly moving experience. The exhibit was designed around these major ideas, transformations, seasonality, performance, and remembrance. The included in the exhibition was a combination of at traditional indigenous Australian art and culture and reactionary contemporary indigenous artwork. 

The exhibition was very charged and powerful. You could feel the emotion, importance in each artwork. This was by far one of the best exhibitions I’ve been to in a while, I definitely recommend visiting it if you are in the area. 

The artwork pictured: 

Photo 2: Untitled (Detail), Naata Nugurrayi, 2006

Photo 3: Hideout,  Lena Nyadbi, 2002

Photo 4: Untitled (Detail), Doreen Reid Nakamarra, 2007

Photo 5: Anwerlarr angerr (Big Yam), Emily Kam Kngwarray, 1996