#caroline's art

[liz-freemen]

🐔

Geez there's truly a LOT of ppl..... took me nearly a week to finish this, ;)

[elbarkla]

Green rain 💚🍀🍏🌿🍃

[stardewvalleybut-i-draw]

Gossip

"Poor farmer, you know so much yet can't say a word... just like Gus!"

reaaallly late post! been super busy

Don't ask about Rasmodious's home, I could barely come up with an excuse for his house

but hey! Rasmodious, Pierre, and Caroine are now done! so that means I have 6 more to go to complete the whole height chart, ref. WOO HOO! :D

On a related note- how is Abigail SHORTER than her mom??? Both the possible dads are around 5'10-5'11 Abigail must have been nerfed by magic or something

[retquits]

robin, caroline, and jodi!! i wanted to draw some of the moms of stardew valley 🌷

[ghosthoodie]

hi friends!! here are all of my new artfight references!! im updating descriptions right now so no link yet but ill post it+link in replies when im done:)

[uwmspeccoll]

Cannupa Hanska Luger, New Myth, Future Technologies, 2021

Dana Claxton, Headdress-Jeneen, 2018

Teresa Baker, Hidatsa Red, 2022

Raven Chacon, For Zitkala Sa Series, 2019

Caroline Monnet, Echoes from a near future, 2022

Marie Watt, Skywalker/Skyscraper (Calling Sky World), 2021

Anna Tsouhlarakis, The Native Guide Project, 2019

Meryl McMaster, Harbourage for a Song, 2019

Marie Watt, Companion Species (Calling Back, Calling Forward), 2021

Staff Pick of the Week

An Indigenous Present proposes that a book can be a space for community engagement through the transcultural gathering of more than sixty contemporary Indigenous and Native artists. Published by BIG NDN Press and Delmonico Books in 2023, An Indigenous Present was conceived of and edited by Mississippi Choctaw and Cherokee artist Jeffrey Gibson (b. 1972) over the course of nearly two decades. 

In Gibson’s own words, “An Indigenous Present celebrates the work of visual artists, musicians, poets, choreographers, designers, filmmakers, performance artists, architects, collectives, and writers whose work offers fresh starting lines for Native and Indigenous art. But the book does not attempt comprehensiveness. Rather, those included here are makers I admire, have collaborated with or been inspired by, and who’ve challenged my thinking. . . . These artists and what they make will guide us to Indigenous futurities authored by us in unabashedly Indigenous ways.”  

An Indigenous Present features over 400 pages of color photographs, poetry, essays, and interviews resulting in a stunning visual experience for readers and a shift towards more inclusive art systems. The front cover art shown here is by Canadian artist Caroline Monnet entitled Indigenous Represent. 

View other posts from our Native American Literature Collection.

View more posts featuring Decorative Plates.

View other Staff Picks.

– Jenna, Special Collections Graduate Intern 

[arianna-creates]

@aliteralchicken 's old textpost made me go feral a few months back and after seeing it again I decided to finish this sketch, color it, and post bc Tim's fit made me think of the barbie movie

[cupcakeshakesnake]

Loud and clear, five two four

[genericb34ns]

[weepingwidar]

Caroline Walker (Scottish, 1982) - Pool Closing (2016)

[jetslay]

"My Adventures with Superman" art by some of the artists behind the show.

(In order: Jane Bak, Sarah Doo, Alaine Baybayan, Richard Suh, Michael Nanna, Caroline Chiou, Karen Guo, Grace Liu, Vivian Ha, and Jake Wyatt)

[strawdool]

Me when i want to make a narilamb portal au

[meshimellow]

DUDDEE is that horse? from show???

[owlbaron]

To @unwarrantedrabbit, Happy Holidays! And here's your @portal-secret-santa

This is GLaDOS interacting with the chief engineer (and Rattmann) a few days after she was built, hope you like it, even thought it's a bit dark :]

[sillyjesterart]

[bixels]

Portal 2 is still the perfect game to me. I hyperfixated on it like crazy in middle school. Would sing Want You Gone out loud cuz I had ADHD and no social awareness. Would make fan animations and pixel art. Would explain the ending spoilers and fan theories to anyone who'd listen. Would keep up with DeviantArt posts of the cores as humans. Would find and play community-made maps (Gelocity is insanely fun).

I still can't believe this game came out 12 years ago and it looks like THIS.

Like Mirror's Edge, the timeless art style and economic yet atmospheric lighting means this game will never age. The decision not to include any visible humans (ideas of Doug Rattmann showing up or a human co-op partner were cut) is doing so much legroom too. And the idea to use geometric tileset-like level designs is so smart! I sincerely believe that, by design, no game with a "realistic art style" has looked better than Portal 2.

Do you guys remember when Nvidia released Portal with RTX at it looked like dogshit? Just the most airbrushed crap I've ever seen; completely erased the cold, dry, clinical feel of Aperture.

So many breathtakingly pit-in-your-stomach moments I still think about too. And it's such a unique feeling; I'd describe at as... architectural existentialism? Experiencing the sublime under the shadow of manmade structures (Look up Giovanni Battista Piranesi's art if you're curious)? That scene where you're running from GLaDOS with Wheatley on a catwalk over a bottomless pit and––out of rage and desperation––GLaDOS silently begins tearing her facility apart and Wheatley cries 'She's bringing the whole place down!' and ENORMOUS apartment building-sized blocks begin groaning towards you on suspended rails and cement pillars crumble and sparks fly and the metal catwalk strains and bends and snaps under your feet. And when you finally make it to the safety of a work lift, you look back and watch the facility close its jaws behind you as it screams.

Or the horror of knowing you're already miles underground, and then Wheatley smashes you down an elevator shaft and you realize it goes deeper. That there's a hell under hell, and it's much, much older.

Or how about the moment when you finally claw your way out of Old Aperture, reaching the peak of this underground mountain, only to look up and discover an endless stone ceiling built above you. There's a service door connected to some stairs ahead, but surrounding you is this array of giant, building-sized springs that hold the entire facility up. They stretch on into the fog. You keep climbing.

I love that the facility itself is treated like an android zooid too, a colony of nano-machines and service cores and sentient panel arms and security cameras and more. And now, after thousands of years of neglect, the facility is festering with decomposition and microbes; deer, raccoons, birds. There are ghosts too. You're never alone, even when it's quiet. I wonder what you'd hear if you put your ear up against a test chamber's walls and listened. (I say that all contemplatively, but that's literally an easter egg in the game. You hear a voice.)

Also, a reminder that GLaDOS and Chell are not related and their relationship is meant to be psychosexual. There was a cut bit where GLaDOS would role-play as Chell's jealous housewife and accuse her of seeing other cores in between chambers. And their shared struggle for freedom and control? GLaDOS realizing, after remembering her past life, that she's become the abuser and deciding that she has the power to stop? That even if she can't be free, she can let Chell go because she hates her. And she loves her. Most people interpret GLaDOS "deleting Caroline in her brain" as an ominous sign, that she's forgetting her human roots and becoming "fully robot." But to me, it's a sign of hope for GLaDOS. She's relieving herself of the baggage that has defined her very existence, she's letting Caroline finally rest, and she's allowing herself to grow beyond what Cave and Aperture and the scientists defined her to be. The fact that GLaDOS still lets you go after deleting Caroline proves this. She doesn't double-back or change her mind like Wheatley did, she sticks to her word because she knows who she is. No one and nothing can influence her because she's in control. GLaDOS proves she's capable of empathy and mercy and change, human or not.

That's my retrospective, I love this game to bits. I wish I could experience it for the first time again.