Cauleen Smith. Space Station Chinoiserie #1: Take hold of the Clouds, 2018. More here, here, and here.
Baseera Khan. A New Territory, 2021. More here, here, and here.
Robert Dash. Flower Bud of the Arbequina Olive Tree (black olives). Microphotography, from National Geographic.
Uuriintuya Dagvasambuu. Aabam Beebem, 2019. Acrylic on canvas. More here and here.
Florine Demosthene. Before The Decline, 2019. Collage on paper. More here, here, and here.
Andrea Chung. From the series Vex, 2020. Collage on paper. More here, here, and here.
Sughra Raza. Karachi Afternoon Sun, 2010. Digital photograph.
Sughra Raza. Temple Wall Philosophy. Galle, Sri Lanka, 2010. Digital photograph.
Didier William. Ezili Toujours Konnen, 2015. Ink and collage on panel. More here, here, and here.
Sughra Raza. HAPPY BIRTHDAY JIM CULLENY! May all the marvels of the world be yours to see. Warmest wishes for many healthy and joyful years ahead. Digital photograph, Mt. Cinnamon, Sri Lanka, 2010. PS: perhaps this will inspire a poem 🙂
Sughra Raza. Untitled. April 2021 Digital photograph.
Wendel White. South Lynn Street School, Seymour, Indiana, 2007. In the series Schools For The Colored. “This meaningful effort features the architectural remains of structures once used as segregated schools for African Americans in New Jersey, Pennsylvania, Ohio, Indiana, and Illinois. Wendel explains his focus on these states, “The project is a survey of the…
Helina Metaferia. The Empress returns, 2018. Collaged paper. More here, here, and here. Thanks to Anjuli Raza Kolb for the tip!
Michael Armitage. Pathos and The Twilight of the Idle. 2019. Oil on Lubugo bark cloth. More here and here.
Suzanne Jackson. The American Sampler, 1972. Part of “You’ve Come a Long Way Baby: The Sapphire Show” at Ortuzar Projects, NY. More here, here, and here.
Delita Martin. Rain Falls From The Lemon Tree. 2020 Acrylic, Charcoal, Decorative Papers, Hand Stitching More here and here.
Jean Shin. Fallen. Installation at Olana State Historic Site, New York. “… In the 19th century, hundreds of thousands of hemlocks were cut down for the tanning industry, which used the tannin in the tree’s bark for the commercial demands of leather-making. The devastating loss of these evergreen forests would have been visible from Olana’s…
Sughra Raza. Beech Bark Landscape. June, 2021. Digital photograph.
Helen Marden. Raja Ampat, 2018. Resin, acrylic, powered paint, and abalone shells on linen. More here and here.
Shada Safadi. Promises. 2014. Engraving on plexiglass. “That spirit could have flown without being seen by anyone. But the horror of what happened, and it’s struggling out of fear, made it leave an impact that demands of us, we the ones how are alive, to give promises. We forget the promises we give to our…