#sydney bird painter

[5sosfanfictioncatalogue]

Artist/Painter Masterlist

a third kind of madness. (ao3) - orphan_account luke/ashton E, 9k

Summary: Unfortunately for him, he’s never really had the time to sit down and paint Luke properly. He tried before, when they were younger, but Luke had been restless and bratty, never sitting still for very long before he got bored or hungry or horny.

or, in which Ashton makes the most of his time off work by painting his beautiful boyfriend Luke.

Brush Strokes (ao3) - falloutmuke michael/luke M, 667

Summary: luke has autism with a love for art. michael is an artist with a love for luke.

I'd pay to see you frown (ao3) - shutupluke michael/ashton G, 1k

Summary: Ashton catches his eye for a moment, smiles nervously. Michael tries to look reassuring, but he thinks it’s probably coming across like he's undressing Ashton with his eyes. He kind of is.

Ashton doesn't look that horrified, so maybe he succeeded. He clears his throat, looks down at the floor, and undoes his robe, shrugging it off his shoulders and dropping it to the floor.

-

Or, Michael is an art student and Ashton is the nude model his class has to paint.

if i knew from the start, would it change a thing? (ao3) - acetominophen luke/ashton N/R, 35k

Summary: "All I painted was you, Ash. It was always you." But Ashton wasn't listening to him at all. His silver-lined eyes were trained on the hand-written words at the bottom of the canvas, unblinking.

Luke's gaze followed his and his lips parted because shit, he'd forgotten. He'd forgotten that he'd titled this one.

'Poisoned myself again. LH'.

Artist!Luke Cowboy!Ashton

it must be the stars (ao3) - skatershelley (craicshelley) luke/ashton N/R, 1k

Summary: Ashton's an artist who likes to sleep on his roof and draw at night. And then someone appears on the roof next door.

That's actually a really bad summary, but you know. Whatever.

Line Work (ao3) - ashtonhours (heartandmindxx) luke/ashton, michael/calum M, 21k

Summary: Ashton Irwin, 07/07/94, no known medical conditions and not under the influence of drugs or alcohol – and originally from Sydney, as it turns out – is looking to get a bird on his neck.

“A California condor,” he says for about the twelfth time, “on my nape.”

a story about boundaries, trust, and a line in the sand.

Muse (ao3) - moonbands calum/ashton N/R, 6k

Summary: Calum gets assigned a project to take photos of a stranger and get to know them to be able to tell their story. Calum chooses Ashton, the angel-like painter that never has his clothes free from paint.

Off-Screen (ao3) - allsassnoclass (brightblackholes) luke/ashton G, 3k

Summary: Now that classes are being taught from home due to the pandemic, students are getting a glimpse into Professor Irwin's home life, especially when his mysterious husband keeps interrupting class.

painting (ao3) - orphan_account calum/ashton N/R, 1k

Summary: calum was ashton's muse, he just didn't quite know it yet.

Paint Me (ao3) - @daydadahlias​ (cornflowerblue (daydadahlias)) luke/ashton E, 17k

Summary: “Holy shit, hold on a minute,” Calum says, “is that who we’re supposed to be drawing?”

“I can’t draw him,” Michael gawks, “I’m not a Goddamn renaissance painter.”

Or, the one where Luke is an art student practicing realism for a month and Ashton is the nude model in his portrait class.

Paint Me In Your Sunshine (ao3) - mukeclemmings michael/ashton, minor luke/calum M, 26k

Summary: Ashton is smiling and it grows when he turns to look at Michael. Dimples, is all Michael can think and then he notices the bit of blond coloring in his hair and oh my god, is he going to be in this class everyday? Because Michael knows he won’t be able to focus on anything else with Ashton right here.

(Michael is an awkward, freshman art major who really wants to kiss the dimples of the upperclassman who sits beside him in painting class.)

Paint Me Like One Of Your French Girls (ao3) - boomercal luke/ashton M, 1k

Summary: Ashton is a famous and revered artist who has had the same muse for a long time; Luke, the muse in question, has been keeping a string of lovers to finance his lifestyle, which often includes sitting for hours for Ashton for free.

Paint Me Wings (ao3) - outlawofideal michael/luke M, 1k

Summary: Michael needs inspiration to paint and he finds a tall blonde one in a club.

Something Old, Something New (ao3) - @ashtcnirwin (elivigar) luke/ashton T, 3k

Summary: “So, makeup, then?”

Luke can feel a rush of blood from his stomach to his face, and he rolls his lips before giving a curt nod.

“Wanna give me something more to go on, or would you like me to just slather some products on you and hope for the best?”

“Oh,” Luke says, and it comes out accompanied by a curt, breathy laugh. “I… I don’t know. I just wanted to… you know, try something new, but…”

In which Ashton is a makeup artist and Luke likes the idea of everything pretty.

Work of Art :: Malum (ao3) - eaty0urveggies michael/calum G, 3k

Summary: In a room full of paintings, he was the true work of art,

Or,

When Michael was an artist and Calum was his masterpiece.

[athis333]

The world’s oldest known picture story is a cave painting almost 6,000 years older than the previous record holder, found about 10km away on the same island in Indonesia, an international team of archaeologists has said.

The painting, believed to be at least 51,200 years old, was found at Leang Karampuang cave on the east Indonesian island of Sulawesi, researchers from Griffith University, Southern Cross University and the Indonesian National Research and Innovation Agency wrote in the journal Nature.

Samples were collected in 2017, but weren’t dated until earlier this year.

The previous record holder was a lifesize picture of a wild pig believed to be created at least 45,500 years ago in a cave at Leang Tedongnge.

The recently discovered painting is of three therianthropes – or human-animal hybrids – and a wild pig.

Adhi Agus Oktaviana, the lead author and a PhD student at Griffith University, said the findings were “very surprising”.

He said the art was much older than famous European ice-age art, such as paintings in the Lascaux caves in France, which are believed to be about 20,000 years old.

The finding contradicts the academic view that early figurative cave art consisted of single figure panels rather than scenes where figures interacted with each other.

The researchers used uranium series dating to date the layers of calcium carbonate that had formed on top of the art. It involved extracting limestone samples that were then vaporised with a laser. The age of the sample was calculated by measuring the ratio of thorium to uranium.

The researchers said this method allowed the layers to be dated more accurately by ensuring younger and older materials were not mixed together.

The researchers also dated art at a nearby cave – Leang Bulu’ Sipong 4 – that was previously believed to be the oldest cave art in the world. They found that the artwork, once believed to be at least 44,000 years old, was at least 48,000 years old.

However, the site of the former oldest known cave painting at Leang Tedongnge could not be dated using the newer method, as there was no calcium carbonate material remaining.

Dr Tristen Jones, a rock art expert at the University of Sydney, said the new method was “a major leap forward in tightening up the resolution and accuracy of dating”. Typically, she said, rock art is extremely difficult to date as the art is predominately made from minerals. It means that radiocarbon dating, which is commonly used to date coral reefs, does not work.

Adam Brumm, a professor from Griffith University who jointly led the study, said that in the hundreds of excavations he had conducted in the region, there were frequent depictions of the warty pig. “They were clearly economically important to these elite people,” he said. “We can see they were also important to them symbolically and perhaps even spiritually”.

However, the researchers said the events taking place in the artwork were “difficult to interpret”, and it was unclear what animals inspired the human-animal hybrids as they were drawn as “essentially stick figures”.

“For whatever reason … early humans … [are] rarely depicted any form that could be reasonably interpreted as a human,” Brumm said. “Animals were often drawn with incredible anatomical fidelity, but [early cave painters] put less effort into doing that.”

He said the researchers were fairly certain one of the human-animal hybrids was a human with the head of a bird, and another had a tail, believed to be that of a civet.

“Storytelling is a hugely important part of human evolution and possibly even helps to explain our success as a species, but finding evidence for it in art, especially in very early cave art, is exceptionally rare.”

[longlivebatart]

Wtewael's Kitchen Scene

If descriptions of animal death- specifically butchery- bothers you, I recommend listening to another episode.  

Welcome to Long Live Bat Art, the podcast for art lovers who don’t see art as much as they want to. My name is Sydney and thank you for taking this slow tour through an art gallery with a casual art lover. Today, I’ll be talking about Kitchen Scene by Peter Wtewael. I hope you enjoy. 

This episode’s history will be extremely brief because I couldn’t find very many sources for Wtewael. And I apologize for most likely butchering that name. He was born in Utrecht in 1596 to Joachim Wtewael, an engraver and painter. He had a younger brother named Johan, who was also a painter. Peter never registered with any painter’s guild. He died in 1660. 

On to the painting.

This painting is a close up of a pair of people- a man and a woman- preparing some meal. It must be for a lot of people- there's a lot of meat around, most of it unbutchered. The man is seen in profile on the right of the image and he’s looking towards the left of the painting. He has a gray wooly hat on his head and light brown hair. His skin is rosy and he’s smiling a little at the woman as if he just told a joke and is happy she laughed. You can see the shadow on his face his cheekbone casts. He’s wearing a white shirt and a ruffled collar, also white. He’s also wearing a brown-gray long-sleeved light coat. You can see the seam on the top of his shoulder facing the viewer- his left. There’s another seam encircling his arm. He has a white wicker basket on that arm, resting on a wooden table you just see the corner of. There’s enough space seen that the basket can rest on it with barely any room to spare. In the basket are eggs, protected by straw and a white cloth. In his left hand, the man is holding a gray metal handled jug that’s covered by a leather sleeve. The sleeve has visible stitching on the neck. The bottom of the rounded part of the jug has a line around the belly and lines curved down to its base. The very base of the jug and the very top are showing outside the leather. He’s holding the jug loosely so it rests on his thigh. The jug has a flip top, not a cork. The top must have a lever for your thumb to open it because it’s currently open like the man is playing with it. 

He’s holding a dead bird by its feet in his other hand. The bird is probably a duck, but I don’t know because I don’t recognize the species. It’s gray with a lighter almost-white stomach. Its beak is orange.

The woman also has rosy skin and is smiling broadly. She has light brown hair, slightly darker than the man’s, that is mostly covered by a white bonnet with a scalloped edge. The back of the bonnet is circular, almost like a braid would be if it was twisted around the back of her head. The main part of the bonnet has floral designs on it, just barely darker than the bonnet itself. Her head is slightly turned towards the man and there are creases in her neck. 

She’s wearing a white shirt. Her sleeves are loose and have been pushed to just above her elbows. She’s also wearing an underbust corset that has a beige body and orange lacing and straps that go over her shoulders in a sheer material. The straps are wide. The white collar is held closed by an orange ribbon and has several points made of lace. Think a jester’s collar, just more and smaller points. The right side of the collar is folded up, like she should smooth it down and fix it so it lays the same as the other side. Her skirt is red. Her shirt must be two toned with a white top and a green bottom, unless the green is an apron. It’s unclear because of what she’s holding. 

She’s holding a metal spoke that has the skinned and cleaned rib section of an animal, maybe a goat. The carcass’ meat is still on the bone and is being held steady on the spoke by a metal protrusion threaded through a hole in the bone at the bottom. The protrusion has a hole at the end like the bottom of a wrench. There’s another protrusion halfway up the carcass, this one pointed. It’s not through the meat because it’s on the curved side of the meat, where the organs and belly are on a live animal. The point is dull and discolored- the spike is black and the point is lighter, almost like it would have a dull shine to it. She’s putting the head of an animal, maybe a goat or a large fish on the very top of the spike, threaded through its mouth. The protrusions near the base of the head could either be ears or large gills, which is why I’m unsure.

On the left of the image is a table loaded with dead animals in various stages of being prepared. There’s what I believe is a goat head that’s skinned. Its face is towards the viewer. There are two smaller brown birds with white spots yet to be skinned and cleaned, maybe pheasants. Two gray rabbits are also not skinned or cleaned, and a large section of ribs that appears to be cooked. There are also two drumsticks near the ribs, also cooked. On the closest corner of the table is a thin knife with a black handle next to a small ball of twine. There’s also a spoon with a deep scoop with medium holes in it. The scoop appears to be made of brass or copper. There’s also a mortar and pestle, also brass. Further back on the table is a ridged container. I think it’s a basket. It’s holding something black, but since the light is focused on the figures I can’t tell what it is.

There’s a dead rooster hanging by its feet on the ceiling over the table. Just above the rooster’s spurs you can see a shelf with a brass container on it. The background is almost entirely black. The right side of the background is slightly lighter with a row of gray metal cups hanging by their handles on a rod and dark gray metal plates above them on a shelf. Behind the man’s head is a box on the wall with a red stripe on the bottom and black the rest of the way. It looks like it opens to store something. 

Now for my thoughts. 

It’s a fascinating painting. It shows what’s behind the scenes of a feast- dead animals to be cleaned and then cooked. The dirty work. It’s a necessary job if you eat meat, but definitely not for the squeamish. And the people preparing, probably only two of a much-larger staff, look like they’re talking as they work and making each other laugh. That’s something lost nowadays in the interest of being quote ‘professional’ unquote. I think that being friends with your coworkers is a must because you spend so much time together. I’ve worked in places where I was friends with people I worked with, and the time passed so much quicker and more enjoyably than when we weren’t allowed to talk much. And my friends have said the same thing. Being able to talk with others is the only way to build connections, and connections are crucial. Your connections with others are what lays the foundation for your experience in life, as much as you shouldn’t depend wholly on others. There should always be yourself at the end of everything- some part that no one can touch, that no one can change. You need to have that core self to build around, something that’s solely yours. Without that, you can disappear into others. 

Being in the kitchen, specifically, should be fun in my opinion. It’s a place where food is prepared, sure, by family or people who are close. At least nowadays when you don’t have servants. The kitchen is a place for jokes, stories, and often music. There’s a reason there’s an expression about whistling while you work. Passing the time with song is a time-honored tradition, from sailors to miners to modern day people playing music from speakers. This painting depicts something not many people have the skills to do, and they’re lightening the task with company and laughter. 

Here’s my challenge for you this time- the next meal you prepare, try to do it with at least one other person. If that’s not possible, put on some music. Dance and sing along, especially if you quote ‘don’t know how’ unquote. Singing and dancing are human experiences, not just for the so-called talented and professional. There doesn’t have to be talent for there to be joy. 

If you liked this episode of Long Live Bat Art, please consider telling a friend and reviewing to help the podcast grow. And you can follow me on Twitter at Long Live Bat Art and tumblr at tumblr dot com forward slash Long Live Bat Art. That's Long Live B-A-T Art. Thank you for listening to this episode, and I will see you in two weeks. 

[c86]

Sydney Bird Painter (Artist Unknown) - Black Swan, c. 1790

[squawkoverflow]

A new variant has been added!

Diamond Dove (Geopelia cuneata) © Sydney Bird Painter

It hatches from abundant, arid, common, dark, long, much, northern, obvious, pale, peaceful, plain, red, similar, and tiny eggs.

squawkoverflow - the ultimate bird collecting game          🥚 hatch    ❤️ collect     🤝 connect

[deathnskulls]

The Sydney Bird Painter

[art-now-south-korea]

Prayer of A Cicada, HyunJung Kim

Drawing: goldpowder and realgold on Paper. Heaviness wrapped up with Lightness – Reading Kim HyunJung’s painting Lee DongChun (Fine art Connoisseur) Kim HyunJung’s paintings are cute and interesting. Her painting reminds us of paintings by Qi Baishi 齐白石 (1864-1957). Qi Baishi pursued beauty in his life, and his artistic spirit is found in his plant-and-insect paintings, flower-and-bird paintings, and figure paintings. Qi Baishi’s artistic spirit is sensed in Kim’s interesting subject matter and candid depiction.Kim audaciously uses ink and bright hues in in the manner of Qi Baishi who applied ink to leaves and red to flowers 墨叶红花. The composition in which subject matter is drawn to the edge of the paper is parallel to that of Qi Baishi’s flower-and-bird paintings and landscape painting of Li Keran’s 李可染 (1907-1989). Kim obviously learned from Qi Baishi. Qi Baishi said, “Learn from me you stand, copy from me you fall 学我者生, 似我者死.” Kim modeled herself after Qi’s artistic spirit rather than his painting style. Kim explored the artistic spirit in Qi Baishi’s painting, in which he emphasizes the meaning of painting and expresses his spirit, and reconstructed this in a realistic rendition. She calls this the “chulsa-ipgong 出写入工” technique. This is a melding of “xieyi 写意” painting (painting that underlines the painter’s spirit), “gongbi-hwa 工笔画” (painting done very carefully with the utmost care for details), and a new invention in tune with her emotion. Zheng Xie 郑燮 (1693-1765), one of the Eight Eccentrics of Yangzhou during the Qing Dynasty asserted, “Learn half, and throw away half 学一半, 撇一半.” This means even if a tradition is excellent, you have to learn only half of it. However, the traditional is currently completely disregarded. Kim learned her ‘half’ from traditional Eastern techniques. She studied the idioms of flower-and-bird painting from Song Dynasty, and learned from artists such as Chen HongShou 陈洪绶 (1599-1652), Yun ShouPing 恽寿平 (1633-1690), ShiTao 石涛 (1641-1707), BaDaShanRen 八大山人 (1625-1705), Gao QiPei 高其佩 (1660-1734), Jin Nong 金农 (1687-1764), and Kim HongDo 金弘道 (1745-1806). Moreover, she explored new methods in expression of color in traditional techniques. As she felt insufficiency in the use of pigment to depict significant parts of a painting, she made use of embroidery. This technique called “hwaju-subo 画主绣补” (Paining is used as primary and embroidery as ancillary) brought a new vitality to gongbi-hwa. The techniques of “chulsa-ipgong” and “hwaju-subo” are not the only revolution and innovation Kim has pursued. Getting psychological counselling, Kim realized the existence of her inner-child. She named her “Lala” and represented her special emotion in a pictorial language through this. Her Lala painting is a projection of her inner-child that she became aware of through psychological consultation, and for the artist a process of healing. This painting is in no way the product of pop art, but the sublimation of an artist’s inner-child to a work of art for the first time in art history. Kim’s Finding implicit rules is a portrayal of a young girl in meditation. The little girl carrying Lala on her back gazes vacantly at a dragonfly on a bare branch against the backdrop of a brick wall. Lala and the little girl look cute. The brick wall is a metaphor for constant time whereas the bare branches and dragonfly represent finite time in nature. The dragonfly acts out as the last leaf by O. Henry (William Sydney Porter, 1862-1910). As a projection of a psychological essay in painting, this work is a new literati painting of the 21st century reflecting Kim’s distinctive art-world. Kim lends new energy to gongbi-hwa through her realization of traditional Eastern painting. Kim has incarnated the spiritual world of intellectuals in our age in exquisite, flamboyant gongbi-hwa. This is why Chinese aestheticians and art historians have recently taken note of Kim’s painting.

https://www.saatchiart.com/art/Painting-Prayer-of-A-Cicada/960197/3943611/view

[doubleattitude]

NUVO Dance Convention, Tulsa, OK: RESULTS

High Score by Age:

NUbie Solo

1st: Penelope LeMieux-’These Boots’

2nd: Jessa Lamb-’Dive in the Pool’

3rd: Olivia Weber-’Bird’

3rd: Arianna Claxton-’Ride’

4th: Charlie Vernon-’Our Home’

5th: Evey Keegan-’Not A Dream’

6th: Audrey Strahm-’Fabulous’

7th: Evie Latta-’Cosmic Girl’

7th: Madeline Tripp-’Diamonds’

8th: Aria Norfleet-’If My Friends Could See Me Now’

8th: Jetta Fernandes-’No Tears’

9th: Nora Newkirk-’Voila’

10th: Isabella Kroll-’Rio’

Mini Solo

1st: Kya Massimino-’System Activated’

1st: Ainsley Epton-’Until’

2nd: Braylynn Grizzaffi-’Path5′

3rd: Keelyn Jones-’The Call’

3rd: Pierson Aldridge-’This Is How I Dream’

4th: Allyn Green-’That’s Life’

4th: Anna Holley-’Wind It Up’

5th: Callan Waite-’Painter’

6th: Rubee Fernandes-’Moonlight’

6th: Zoey Claxton-’Moonlight Sonata’

7th: Zoey Frandsen-’Static’

8th: Jencie Lamb-’I’ve Got Rhythm’

8th: Kendall Brown-’My Voice’

9th: Katherine Thuillier-’Oh Yeah’

10th: Kaidence Goodrich-’Coppelia Act III’

Junior Solo

1st: Finley Waite-’Welcome Home’

2nd: Audrey Mayernik-’Anchor’

2nd: Lilly Allen-’Dreamstate’

2nd: Maely Weaver-’Staggered in a Configuration’

3rd: Brooklyn Simpson-’Undertow’

4th: Bailey Farr-’Summer’

5th: Londyn LeMieux-’Tar’

5th: Sydney Kelly-’You Are the Reason’

6th: Finley Aldridge-’Because We Don’t Know’

6th: Emmanuel Herd-’The Zone’

7th: Miley Mohon-’Attention’

7th: Evey Bradley-’Dusk Falling’

7th: Sloane Henry-’Earth’

7th: Lauren Crooks-’Flight’

7th: London Barron-’Look What Your Love Has Done To Me’

8th: Cooper Palmer-’Shutters’

9th: Karley Osborn-’Hide’

9th: Zoe Vandrell-’Reflect’

9th: Kerrigan Mize-’Somewhere’

9th: Kaylen Brown-’Unsteady’

10th: Kennedy McNeal-’Circus’

10th: Reese Bradley-’Indestructible Variety’

10th: Jordyn Pulley-’Twisted Olive Branch’

10th: Kynlee Schultheis-’When You Wish Upon A Star’

Teen Solo

1st: Garris Munoz-’Enlightenment’

1st: Avery Hall-’Nature Never Lies’

2nd: Blair Peak-’Falling Angels’

2nd: Jordan Lassiter-’Joyful Girl’

2nd: Sydney Orr-’So Far’

2nd: Cydney Heard-’Summer Wine’

2nd: Sami Sonder-’The Practice of Surrender’

3rd: Avery Lau-’From the Ashes’

4th: Peyton Koepke-’On the Horizon’

5th: Scarlett Szewczyk-’Be A Lady’

6th: Hallee Fransisco-’Amidst the Chaos’

6th: Caroline Cariker-’Endalaus’

7th: Skye Epley-’I Lived’

7th: Marcella Johnson-’She Doesn’t Beg, She Goes’

7th: Melanie Wills-’Silence is Golden’

8th: Margaret Zimmerman-’A Coded Message’

8th: Faith Stoner-’Ghosts In the Wind’

8th: Kailtyn Cates-’Only Fault’

8th: Emery Sousley-’The Intent’

9th: Abigail Carpenter-’Born Again’

9th: Mitch Stone-’I’m Crazy’

9th: Jeret Stone-’The Way’

9th: Cate Crockett-’Walking and Falling’

10th: Tayler Villarreal-’Castles’

10th: Jordyn Turner-’Inhale, Exhale’

10th: Olivia Brewer-’Sophisticated’

10th: Gabby Hardy-’Uninvited’

Senior Solo

1st: Chantal Le-’Tear Jerker’

2nd: Peyton Winsett-’Distortion’

3rd: Carly Schultz-’In the Rearview Mirror’

3rd: Tori Han-’The Sky Won’t Fall’

4th: Izzy Burton-’The Place Between Hope and Despair’

5th: Kaylee Smith-’A Quiet Darkness’

6th: Clara Gough-’Snow Queen’

7th: Katie Tschoepe-’I Can’t Go For That’

8th: Jazmyne Stickles-’The Uncertainty of It All’

9th: Jordan Wood-’Circle Game’

10th: Reese Spencer-’A Song For You’

10th: Dani Davis-’Unspoken’

NUbie Duo/Trio

1st ‘Soldier’-Miss Kristys School of Dance

2nd: ‘Rescue’-Elite Dance of Tulsa

Mini Duo/Trio

1st: ‘Gucci Girls’-Applause Studios

2nd: ‘Tutti Frutti’-Theatre Arts

3rd: ‘Friend Like Me’-Dance Dynamics

Junior Duo/Trio

1st: ‘Crazy Swing’-Theatre Arts

2nd: ‘Querencia’-Elite Dance of Tulsa

Teen Duo/Trio

1st: ‘Hollaback’-KJ Dance

Senior Duo/Trio

1st: ‘Shape of You’-KJ Dance

NUbie Group

1st: ‘True Colors’-Elite Dance of Tulsa

2nd: ‘Close to You’-Elite Dance of Tulsa

Mini Group

1st: ‘Streets of NYC’-Applause Studios

2nd: ‘Funkytown’-Elite Dance of Tulsa

3rd: 'Stand By Me’-Elite Dance of Tulsa

Junior Group

1st: ‘Quake’-Elite Dance of Tulsa

2nd: ‘Cry To Me’-Elite Dance of Tulsa

3rd: ‘Rush’-Elite Dance of Tulsa

Teen Group

1st: ‘Rapture’-The Pointe Performing Arts Center

2nd: ‘Melody’-Applause Studios

3rd: ‘Die A Little’-South Tulsa Dance Co

Senior Group

1st: ‘Cathedrals’-South Tulsa Dance Co

2nd: ‘We Built This City’-Elite Dance of Tulsa

NUbie Line

1st: ‘Cant Turn You Loose’-Elite Dance of Tulsa

Mini Line

1st: ‘Dessert’-Elite Dance of Tulsa

Junior Line

1st: ‘No Choir’-Elite Dance of Tulsa

Teen Line

1st: ‘State of Emergency’-South Tulsa Dance Co

High Score by Performance Division:

NUbie Contemporary

‘True Colors’-Elite Dance of Tulsa

NUbie Jazz

‘Cant Turn You Loose’-Elite Dance of Tulsa

Mini Jazz

‘Streets of NYC’-Applause Studios

Mini Contemporary

'Stand By Me’-Elite Dance of Tulsa

Mini Hip-Hop

‘Dessert’-Elite Dance of Tulsa

Junior Jazz

‘Quake’-Elite Dance of Tulsa

Junior Contemporary

‘Rush’-Elite Dance of Tulsa

Junior Musical Theatre

‘Cry To Me’-Elite Dance of Tulsa

Teen Jazz

‘Die A Little’-South Tulsa Dance Co

Teen Contemporary

‘State of Emergency’-South Tulsa Dance Co

‘Rapture’-The Pointe Performing Arts Center

Senior Contemporary

‘Cathedrals’-South Tulsa Dance Co

Best NU Groups:

NUbie

‘Cant Turn You Loose’-Elite Dance of Tulsa

Mini

‘Funkytown’-Elite Dance of Tulsa

‘Streets of NYC’-Applause Studios

Junior

‘Quake’-Elite Dance of Tulsa

Teen

‘State of Emergency’-South Tulsa Dance Co

‘Ambience’-Elite Dance of Tulsa

‘Melody’-Applause Studios

‘Rapture’-The Pointe Performing Arts Center

Senior

‘Cathedrals’-South Tulsa Dance Co

Studio Pick:

‘Ambience’-Elite Dance of Tulsa

[jessiesjaded]

THE SYDNEY BIRD PAINTER Boobook owl (c. 1790-1800) watercolour, pen and ink over pencil.

[aautiemiller-rockcenter]

NUVO Bellevue Results 2019

NUbie Solos:

1. Adalyn Rus - Gold (PULSE Dance Centre)

2. Neve Colyn - Calling All The Monsters (PULSE Dance Centre)

3. Piper Perusse - Sparkling Diamonds (The Surge Dance Center)

Mini Solos:

1. Campbell Clark - Mambo (MVP Dance Elite)

2. Esme Chou - Stardust (The Company)

3. Phoenix Jonat - Rare Bird (PULSE Dance Centre), Relinda Kozol - Mambo Italiano (PULSE Dance Centre)

4. Keenan Mentzos - The Business Of Love (PULSE Dance Centre), Braelyn Schaffer - Isn’t She Lovely (Triple Threat Performing Arts)

5. Oakley Arksey - Back To School (PULSE Dance Centre)

6. Sydney Kelly - Beauty (Club Dance Studio)

7. Orion Espinosa - Proud Of Your Boy (The Surge Dance Center)

8. Dakota Frederick - She Bangs (The Surge Dance Center)

9. Hannah Ostrom - Kick Jump Twist (Trilogy Dance Company)

10. Rainey Cha - Painter (Rhythm and Soul Dance Studio)

Junior Solos:

1. Tegan Chou - Incantation (The Company) DJP

2. Sami Sonder - Re-Awakening (Master Ballet Academy), Elora Marsch - Into The Mist (PULSE Dance Centre), Charlotte Cogan - Emerge Pt. I (The Company) DJP

3. Felix Fulton - Gallant (Performing Arts Academy of Marin)

4. ? 

5. AvaRose Campbell - I’d Rather Be Me (The Surge Dance Centre)

6. Lukas Klassen (Explosion Dance)

7. Lexi Cairney - Letting Go But Never Forgetting (PULSE Dance Centre)

8. Ava Burgham - Angel (Studio West Dance)

9. Maizy Limbocker - Like That (Elite Dance Studio)

10. Ainsley Ercanbrack - The Grand Finale (The Surge Dance Center)

Mini Duo/Trios:

1. Alter Ego (The Company)

2. Say It With Flowers (PULSE Dance Centre)

3. You’re The One That I Want (The Surge Dance Center)

Junior Duo/Trios:

1. Magnetize (The Company) DJP

2. I Feel Like I’m Drowning (Elite Dance Studio), Got The Love (Elite Dance Studio)

3. Wicked Little Girls (PULSE Dance Centre)

[bryregrad702]

Stylistic Influence: Robyn Kahukiwa

‘Robyn Kahukiwa is one of Aotearoa New Zealand’s pre-eminent female Māori painters. Kahukiwa’s rediscovery of her Māori heritage, on moving from Sydney to New Zealand in 1955, has formed the crux of her painting practice, which passionately articulates and affirms her identity as a Māori wahine (Māori woman). Since her first solo exhibition in 1971, Kahukiwa has been engaged in representing Māori and Pacific cultures as a way of reclaiming tino rangatiratanga (self-determination), and earned recognition and greater prominence as a professional artist in the seminal exhibition *Wahine Toa: Women of Māori Myth*, which toured New Zealand in 1983. Kahukiwa’s paintings investigate the diversity of urban Māori and Pacific communities, and often represent her personal search for cultural identity. Her mural-scale paintings are populated with ancestral figures, native birds, plants and trees, and their commentary relates to the realities and struggles of Māori.’

 Auckland Art Gallery. (n.d.) Robyn Kahukiwa. https://www.aucklandartgallery.com/explore-art-and-ideas/artist/1268/robyn-kahukiwa?q=%2Fexplore-art-and-ideas%2Fartist%2F1268%2Frobyn-kahukiwa

Hinetitama, 1980, by Robyn Kahukiwa (1940– ).

‘Hinetitama is an example of the bicultural style that is common in contemporary Māori art. Traditional subject matter is fused with a Europeanised style. While the figure is strongly representational as is typical in Western art, the symbolism which is an integral part of the work identifies it as Māori.’

New Zealand History. (n.d.). Hinetitama by Robyn Kahukiwa. https://nzhistory.govt.nz/media/photo/hinetitama-robyn-kahukiwa

Kahukiwa is an important stylistic reference, as a wāhine Māori artist, and as someone who has been on a journey of discovering who she is as a Māori woman. This ‘bicultural’ style, with symbolism through motif as well as representational painting is a really important stylistic point. However, I don’t know that I have the necessary level of understanding to create symbolism which is culturally relevant. 

At this stage, before formative, I think that I need to focus just on getting illustrations out there. Then. I can start thinking about appropriate and contextualised stylistic decisions - now, it's about telling the story. 

[5sosfanfictioncatalogue]

Artist!Luke Masterlist

Aquarelle (ao3) - antisocialhood michael/luke N/R, 3k

Summary: Michael was slow fucking into him, taking his time to build a pace that would ultimately drive Luke nuts and probably give him the best orgasm of his life

Brush Strokes (ao3) - falloutmuke michael/luke M, 667

Summary: luke has autism with a love for art. michael is an artist with a love for luke.

do you wanna touch (yeah) (ao3) - kingscrossinseptember luke/calum G, 1k

Summary: Calum always had trouble knowing what a normal amount of time was to look at another person, so when his brain kicked back into gear, he quickly dropped his gaze to his shoes, realized that was probably too obvious, and then darted his eyes around the aisle until he settled on staring intently at the rows of paintbrushes sticking up in front of him. Hopefully the pretty stranger was too focused on whatever errand he was running to pay attention to some weirdo fondling brushes. Alas, luck was not on Calum’s side.

every now and then the stars align (ao3) - merlypops luke/calum E, 3k

Summary: Calum gets in trouble a lot, Luke's had a bad life, and Calum would do anything to keep him safe. Anything at all.

if i knew from the start, would it change a thing? (ao3) - acetominophen luke/ashton N/R, 35k

Summary: “All I painted was you, Ash. It was always you.” But Ashton wasn’t listening to him at all. His silver-lined eyes were trained on the hand-written words at the bottom of the canvas, unblinking.

Luke’s gaze followed his and his lips parted because shit, he’d forgotten. He’d forgotten that he’d titled this one.

‘Poisoned myself again. LH’.

Artist!Luke Cowboy!Ashton

if my wall clock tells me that it's 4 in the morning i'll give it hell (ao3) - crankgameplays luke/ashton N/R, 1k

Summary: basically writer!ashton with a small case of lukesomnia and artstudent!luke who also cant sleep and he draws ashton a lot okay its not his fault the boy has such a nice face, he /has/ to draw it.

Line Work (ao3) - ashtonhours (heartandmindxx) luke/ashton, michael/calum M, 21k

Summary: Ashton Irwin, 07/07/94, no known medical conditions and not under the influence of drugs or alcohol – and originally from Sydney, as it turns out – is looking to get a bird on his neck.

“A California condor,” he says for about the twelfth time, “on my nape.”

a story about boundaries, trust, and a line in the sand.

no you don't need to be careful (ao3) - xieagle luke/ashton, michael/calum N/R, 3k

Summary: ashton irwin hasn't spoken in a large number of years. he works in the coffee shop his foster parents own, and is constantly dealing with the idea that no one will ever truly understand and accept him.

luke goes to university, studying art. he loves going to the local coffee shop to find a caffeine boost and to meet his friends, michael and calum, the two he is rather jealous of. he says it's a good boost for his muse, but never says why.

Paint Me (ao3) - @daydadahlias​ (cornflowerblue (daydadahlias)) luke/ashton E, 17k

Summary: “Holy shit, hold on a minute,” Calum says, “is that who we’re supposed to be drawing?”

“I can’t draw him,” Michael gawks, “I’m not a Goddamn renaissance painter.”

Or, the one where Luke is an art student practicing realism for a month and Ashton is the nude model in his portrait class.

twink boy bottom erotica. (ao3) - badomensbaby luke/calum E, 13k

Summary: in which luke agrees to be calum's model for his photography project.

[tei-mei]

冥's track selected "Kyosai"on mixtape S&S E59 Here Appear Sila Ptah 

Sila Ptahi makes abstract beat tapes which, save for two released with Nekubi Tapes and Haju Tapes, are shared anonymously on SoundCloud. For Episode 59, Ptahi assembled an hour-long block of dust-covered soul and hip-hop, heavily optimized for headnods. Selections traverse syrupy sampledelia, jazzy instrumentals, and time-warped balladry, with careful attention paid to texture and tempo.

The episode’s second block catches up with 2018. A pastiche of new modes, the set kicks off with Jon Bap‘s frenetic new jack swing, Akiko Kiyama‘s scattered percussion, and Meitei / 冥丁‘s mood tribute to 19th-century painter Kawanabe Kyosai. Onto Anenon‘s latest fusion (of soprano sax, piano, synth and field recordings) on Friends of Friends, spacious dream-folk from Montreal songwriter Alexia Avina (courtesy of Cuddle Formation’s label Never Content), followed by woodwind drone via Eve Essex‘s tape out today on Soap Library. Next is a Séance Centre-reissued 1987 cut by Mexican guitarist/synthesist Eblen Macari, a Balearic night drive from Sydney’s Angophor, buzzing free jazz from Japan (that’s woodblue on MPC, Yudai Suzuki aka Multi purpose studio on trumpet, and Hiroko Arima on stone), and, finally, a tender bedroom-pop outro from New York-based artist Grub (hat tip, Tyler).

Hour One: Mix by Sila Ptahi Hour Two: Freeform Jon Bap – Voice Memo from 2013 / _Stuck_ Akiko – Body & Soul Meitei / 冥丁 – Kawanabe Kyosai / 河鍋暁斎 Anenon – Open Alexia Avina – Bird Eve Essex – Here Appear Eblen Macari – Supernova en Macuspana Angophora – Uncarved Hiroko Arima, Multi purpose studio, Woodblue – re-flectionB Grub – Baby in the Sea

[longlivebatart]

Kalf’s Still Life with Ginger Pot and Porcelain Bowl

Welcome to Long Live Bat Art, the podcast for art lovers who don’t see art as much as they want to. My name is Sydney and thank you for taking this slow tour through an art gallery with a casual art lover. Today, I’ll be talking about Still Life with Ginger Pot and Porcelain Bowl by Willem Kalf. I hope you enjoy. 

Willem Kalf was born in 1619 in Rotterdam. His father died when he was six and he left Rotterdam in 1638 shortly after his mother died, leaving him an orphan at around 18. No one knows who he apprenticed under because any documents that might have alluded to or outright told people who he was trained by haven’t survived to today. He moved to Paris in around 1641 until late fall five years later. As you might expect, the paintings Kalf produced during his time there were said to be part of his French or Parisian period. 

Kalf lived in a house with several other Dutch painters in a house called La Chasse. His early paintings were mainly of exteriors, especially of farms. That was apparently very popular as a subject and his paintings were copied quite a few times. But he didn’t just paint exteriors- he was one of the pioneers of the still life genre later on.

Kalf returned to Rotterdam in October 1646 and he didn’t crop up in the records for another five years, when he resurfaces in Hoorn in a marriage record to Cornelia Pluvier. He and his wife moved to Amsterdam, which is where Kalf stayed. In 1654, he is a member of the Saint Luke’s Guild in that city. 

Kalf wasn’t solely a painter doing his own work, however- he was an art authenticator and dealer as well. He authenticated in Amsterdam in 1653, and the documents he provided to authenticate an artwork by Paulus Bril are part of the reason historians know he was in the city at that time. And it’s through his art dealing that he most likely gathered all the interesting, exotic, and exorbitantly expensive items he later used in his still lifes. Oddly enough, he painted very few paintings during his mature period where he created most of his still lifes for which he is now known. Art historians in the Netherlands call his still lifes a term that means “ostentatious still life” in English.

Kalf died on July 31, 1693. 23 of his works survive.

On to the painting.

The still life’s background is dark brown, so deep it’s actually hard to make out some details. The table the items are on is polished granite with a beveled edge. The granite is brown with gray and black veins running through it, mostly seen on the front left corner of the table, the only corner visible to the viewer. There’s an open faceted brass pocket watch on the corner of the table. Or maybe it’s a handheld compass or even a locket. It has a black ribbon threaded through the loop. The ribbon is draped over the corner of the table, and it’s dangling down. There’s a small brass key or something similar on the ribbon. It’s bent- the hole is threaded through the ribbon, and the body of the key is almost at a ninety degree angle. There’s a small piece of brass extending from the item, which is why I think it's a key.

Next to the pocket watch, there’s a silver tray. The edge of it is detailed and ornate, though you only see it in profile so you can’t tell what the details actually are. There’s a depression in the middle of the tray where items can sit. On the tray is a glass tube with a small orange and yellow swirl on one side. It looks like it’s connected to a small metal cup on the other side. It could be a snuffer for candles. Cocked on the tray is a white porcelain bowl with delicate blue designs on it. One design you see in full is the solid profile of a bird on a branch. The rest of the design in the concave side of the bowl is obscured by an eaten slice of melon. The green rind and a few pieces of the orange melon remain in the bowl. Also in the bowl is a hammered metal disc with holes in it, but I’m not quite sure what function that item serves. It looks almost like a loose-leaf tea steeper, but without a chain to pull it out of the water.

Behind the bowl and to the left is a large wine glass. The stem of the glass is very thick and it looks like it has those glass decorative pebbles on it, the ones with a flat back and a domed front. The glass is dark green, but the color is probably influenced by the dark background. The glass itself is half full with a colorless liquid, with a half-peeled lemon in it. The lemon’s rind has been peeled in a spiral, and most of the rind is dangling over the rim of the glass and hanging over the left side. 

Underneath the dangling lemon rind is an apple-like fruit with a stem with leaves coming out of the top and a much smaller fruit off to the left, still on the stem. The main fruit has a crack on the left side of it, in the middle of the lighter area. The right side and most of the bottom has a gentle shadow thrown on it by the objects next to it. 

To the right of the porcelain bowl is the green melon that the slice in the bowl was cut out of. It has a crackled rind and the inside is a yellow-orange. Close to the center of the melon you can see the slightly-green seeds running along the length of the exposed slice. Behind the melon is a large blue vase, which is the ginger pot the title references. The pot has white designs on it, but you can only clearly see one. That one is a floral-like design. The top of the pot has a horizontal single diamond design on it, like an elongated simple compass rose on a map. Behind the pot and to the left is another drinking glass. This one is a narrow triangle shape, with the point of the triangle at the bottom. It’s filled with a red liquid. To the right of the ginger pot, hardly able to be seen against the background, is a third drinking glass. You can only see the top part of the glass, where liquid would sit, and not its stem. The glass is wide and almost-floral in shape. The edges are wide flutes and the rim is also fluted. It looks like the cup of a flower seen in profile. 

Bunched around the right of the ginger pot and melon is a thick cloth. It’s mostly orange, with dark brown and white designs on it. The design closest to the viewer and the most distinct is shaped like a maple leaf. A fold in the fabric from how it’s laying splits the design in half. The cloth is also resting under the silver tray and has a fringed edge. 

Now for my thoughts.

I like the lived-in feel of the painting. It looks like the melon was freshly eaten and the person these items belong to just walked away and will be back to clear up later. I know Kalf likely staged the table himself to practice drawing and painting from real life, but it still has that human touch to it. It isn’t just a fruit bowl- Kalf chose these items for a reason. Maybe that reason is that he had it nearby, but I like to think that he chose them because they were challenging. And the design of the cloth and the ginger pot, even the marble table, are incredibly detailed and life-like. The liquids in the glasses are clear and the viewer can easily tell what they are. What I think is a loose leaf tea steeper is metal and reflects the design of the  bowl it’s resting in, albeit in a distorted way. The light coming through the vase with the glass pebble design on it reflecting off the ginger pot and the fact you can hardly see the glass on the right are such small details in reality but huge in theory.

Kalf might also have chosen the items in his still lifes as not-so-humble brags- his art dealing brought him a lot of spending money that he used to acquire items that the vast majority of his fellow Dutch couldn’t afford. It would be somewhat like an artist of today painting stacks of gold bars and cash, along with highly expensive items like Ming vases and designer clothing and accessories. Kalf’s paintings were incredibly popular with the elite in the Netherlands of that time, mostly because of a status symbol. But the pieces are still gorgeous. 

The hours this painting must have taken- hours sitting in one spot and painstakingly rendering every detail so that it was as good as Kalf was capable of making it must have been intense. It’s amazing that this is one of the works Kalf made that survived- I mentioned that there were 23. It’s a still life. And this is just one of the several by him that exist to this day, but still lifes don’t tend to survive because they’re seen as boring by most people who don’t have a background or at least a passing interest in art. They think- as I used to and still often do- why someone would paint a bunch of random things on a table. But they were more than just practice pieces for techniques and colors. They trained the artist’s eye. To see more than a first glance, to look deeper into the world and truly experience it. And yes, still lifes often trained the artist’s patience as well- the ability to sit still and stare at one scene for hours is a skill that must be practiced as much or even more so than any brushwork technique. 

Here’s my challenge for you, and don’t get scared that it’s to create your own still life. No, it’s to look around you, wherever you’re listening to this podcast. Whether you’re on your commute, in your room, or doing chores, there’s probably something you’ve seen a million times and passed by without looking at it.

So I challenge you to take a close look at that thing safely. In my experience, you can usually find something brand-new to see. Whether it’s a new kind of tree, an interesting shadow on the wall, or the pattern on a dish, everything can stand to be appreciated just a little more. And if you’re moved to do so, maybe take a picture of that thing. Your life deserves to be documented. It’s incredible what you see as ordinary now will turn out to be extraordinary later. You never know when the last time will be, so soak in your experiences. You never know when your experience will turn into a treasured memory. And memories are what make life so much better.

If you liked this episode of Long Live Bat Art, please consider telling a friend and reviewing to help the podcast grow. A link to the transcript of this episode is available in the show notes below. And you can follow me on Twitter at Long Live Bat Art and tumblr at tumblr dot com forward slash Long Live Bat Art. That’s Long Live B-A-T Art. Thank you for listening to this episode, and I will see you in two weeks.

[jeremystrele]

Seven Great Places To Buy Affordable, Original Art

Seven Great Places To Buy Affordable, Original Art

Art

by Sasha Aarons

Banda (Long Neck) by Roy Burnyila at Bula’bula Arts ($800).

Left: A pandanus bag by Julie Julibing Malibirr ($450) and a woven bottle by Janice Djupuduwuy. Right: Bark painting by JB Fisher ($230-$280).

Bula’bula Arts

Based in the Yolgnu community of Ramingining in central Arnhem land, Bula’bula is an arts centre supporting 150 artists from the town and surrounding art stations. The centre’s online store sells bark and canvas paintings depicting stories of Yolgnu culture in ochre, white clay and charcoal; as well as weavings and fibre art woven from locally harvested materials such as pandanus, sand palm and kurrajong bark stained with natural dyes made from fruits, roots and leaves.

Artists receive 50-60% of the retail sale price fo the artwork, with the remainder of profits used for operational costs.

Shop the Bula’bula online store here.

‘Fresh Light’ by Emily Gordon ($1,100), represented by Michael Reid Northern Beaches.

‘Sunshine at the Sentinel Ranges’ by Julz Beresford, represented by Michael Reid Northern Beaches.

‘Hot day, Corrimal Pool’ by Anh Nguyen ($1,500), represented by Michael Reid Northern Beaches.

‘Across the Park’ by Kate Broadfoot ($560), represented by Michael Reid Northern Beaches.

Michael Reid Northern Beaches

Formerly Michael Reid Studio Direct, the little sibling to the Sydney contemporary gallery was established in 2018 as a platform to connect emerging artists with new collectors in their price bracket.

Now known as Michael Reid Northern Beaches, the gallery represents artists such as Lucy Roleff, Katie Eraser, Meg Walters, Emily Gordon and more.

Shop the available works here or follow them on Instagram here.

Left: ‘Under the Tree‘ by Emily Besser ($550). Right: And So It Goes by Amber Stokie. Both represented by Boom Gallery.

‘Shine‘ by Amber Stokie ($1,400), represented by Boom Gallery.

‘Sun Stretch‘ by Carla McRae ($550), represented by Boom Gallery.

Boom Gallery

Boom Gallery is an art and design gallery located in Geelong, Victoria that has been running since 2011, with a strong stable of local artists, both emerging and established. Alongside its collection of original artworks are ceramics, jewellery and design objects available for purchase.

For an extra level of accessibility the gallery has partnered with Art Money to offer a no-interest lay-by option for purchases.

Shop the Boom Gallery stockroom here. 

‘Bird Specimen No. I/IV’ by Evi O ($600), represented by Saint Cloche.

‘Falling for You’ by Katie Daniels ($1,400), represented by Saint Cloche.

‘Range Study 1’ by Emily Imeson ($900), represented by Saint Cloche.

‘Passage’ by Justin Scivetti ($950), , represented by Saint Cloche.

Saint Cloche

The tiny, beautiful gallery in Sydney’s Paddington hosts some of the best emerging Australian artists, alongside established local talent. Expect pieces by Emily Imeson, Bec Smith, Evi O and Indivi Sutton in their constantly rotating roster of exhibiting artists.

Their stock-room is updated regularly with sculpture, ceramics and objects alongside painted works.

Shop the Saint Cloche stockroom here.

Left: ‘Your Wallpaper‘ by Giorgia Bel ($950). Middle: ‘Sand Lily‘ by Peta Petrakis ($970). Right: ‘Alister Street, a home I once lived in, now demolished like the rest of them‘ by Ella Dunn ($1,200). All represented by Sunday Salon.

Left: ‘Tropical Ploom‘ by Lucas Golding ($880). Right: ‘Untitled (Autumn), 2021‘ by Lucy Anderson ($850). Both represented by Sunday Salon.

Sunday Salon

Lily Mora erupted onto the local affordable art scene with the launch of her online dealership, Sunday Salon. With an incredible eye and an excellent line-up of new talent, the young art dealer does monthly ‘drops’ of new sculptures, paintings by emerging artists.

Sunday Salon represents sculptors and painters alike, and counts artists like Mia Boe, Lucas Golding and Ella Dunn in its lineup. The works range from $200-$4k, and for the ultimate accessible piece, Lily has also created a line of T-shirts, totes and tea towels printed with select paintings.

Browse Sunday Salon’s available artworks here.

Left: ‘Coil Basket’ by Belinda Gurriniya. Middle: ‘Wak Wak’ by Eleazer Nangukw. Right: ‘Manme’ by Dennis Rostron. All by artists at Maningrida Arts + Culture.

Maningrida Arts + Culture

Maningrida Arts + Culture is one of the most prestigious First Nations arts centres in Australia, recognised around the country and the world for the work of its incredible emerging and established artists.

If you’re lucky enough to visit the centre in North Central Arnhem Land then you can buy directly from their gallery store, but for those of us who aren’t going to the Northern Territory any time soon, the centre’s bark paintings, weavings and sculptures can be purchased online.

Peruse Maningrida’s online store here.

‘Myroodah Station 14’ by Maggie Green ($1,089).

‘Myroodah Station 12’ by Maggie Green ($1,089).

The TDF Gallery! Photo – Bri Hammond for The Design Files.

TDF Collect

Okay, okay not to toot our own horn, but TDF’s own exhibitions are a great way to buy works from local emerging artists! Held approximately every three months at TDF HQ, we’ve held solo shows with local artists Hannah Nowlan, Stephen Baker, Amanda Dziedzic, Marc Martin and more.

Most of our exhibitions get strong interest before we actually open the doors, so make sure you subscribe to our mailing list or follow our Instagram for updates. Our next exhibition is with local painter Emma Currie, and later in the year we’ll host our second show with Spinifex Hill artist, Maggie Green. Watch this space!

See past TDF Collect exhibitions here.

[inclineto]

Books, January - March 2018

A Sea of Words: A Lexicon and Companion to the Complete Seafaring Tales of Patrick O'Brian - Dean King, John B. Hattendorf, J. Worth Estes

The Empress of Earth - Melissa Scott

Tongues of Serpents - Naomi Novik

The Emperor Has No Clothes: Teaching About Race and Racism to People Who Don’t Want to Know - Tema Okun

The Dark Is Rising - Susan Cooper

Tamsin - Peter S. Beagle *

Crucible of Gold - Naomi Novik

The Reader - Traci Chee [dnf]

An Unsuitable Heir - K.J. Charles

Blood of Tyrants - Naomi Novik

A Wizard of Earthsea - Ursula K. Le Guin

The Tombs of Atuan - Ursula K. Le Guin

The Watchmaker of Filigree Street - Natasha Pulley

The Girl from Everywhere - Heidi Heilig

The Farthest Shore - Ursula K. Le Guin

Wolf Hall - Hilary Mantel

The Overneath - Peter S. Beagle

The History of White People - Nell Irvin Painter

Bring Up the Bodies - Hilary Mantel

A Journal of a Voyage to the South Seas, In his Majesty’s Ship The Endeavour: Faithfully Transcribed From the Papers of the late Sydney Parkinson, Draughtsman to Sir Joseph Banks, Bart. in his Expedition with Dr. Solander round the World; and Embellished With Twenty-Nine Views and Designs, engraved by Capital Artists, to which is now added, Remarks on the Preface, By the late John Fothergill, M.D. F.R.S. &c. - Sydney Parkinson [and some other (angry) people]

An Unkindness of Magicians - Kat Howard

Graceling - Kristin Cashore

Underground Airlines - Ben H. Winters

All the Birds in the Sky - Charlie J. Anders

Practical Boat Sailing: A Concise and Simple Treatise on The Management of Small Boats and Yachts Under All Conditions, with Explanatory Chapters on Ordinary Sea-Manoeuvres, and the Use of Sails, Helm, and Anchor, and Advice as to What Is Proper To Be Done in Different Emergencies; Supplemented by a Short Vocabulary of Nautical Terms - Douglas Frazer

Boundless - Jillian Tamaki

Girl Waits With Gun - Amy Stewart

Art & Lies - Jeanette Winterson

Kidnapped - Robert Louis Stevenson

City of Winchester Official Guide (1971)

Brimstone - Cherie Priest

This Monstrous Thing - Mackenzi Lee

Hag-Seed - Margaret Atwood *

Women & Power: A Manifesto - Mary Beard

The Essex Serpent - Sarah Perry *

Cursed Pirate Girl - Jeremy A. Bastian