I can see the moon

Lady with an Ermine by Leonardo da Vinci c. 1490, oil and tempera on panel

The leopardess Faulu.

The Queen of Sheba (1911)

Blood stains left by the “vattienti” flagellants in Nocera Terinese during the Holly Week [x]

Yoo Mi Seon (South Korean, b. 1959, Inside, 2026

Rover Thomas (c.1926–1998) changed the course of Aboriginal Australian art through paintings that transformed Kimberley Country into monumental fields of ochre, memory, and spiritual geography. Emerging from the Gurirr Gurirr (Krill Krill) ceremony at Warmun during the late 1970s, Rover developed a radically simplified visual language built from earth pigments, aerial landscape forms, and ceremonial mapping.

Unlike Western Desert dot painting, Rover Thomas’ work reduced rivers, roads, massacre sites, and sacred places into elemental compositions of black, red, yellow, and white ochre. His paintings feel ancient and modern at the same time — somewhere between landscape, history painting, and abstraction.

In 1990 Rover Thomas became one of the first Aboriginal artists to represent Australia at the Venice Biennale, helping shift Aboriginal art from anthropological framing into the centre of contemporary international art discourse.

Laura Boswell（British）

In Greenlandic Inuit tradition, some objects were believed to carry forces far beyond their physical form.

Known as tupilaqs, these strange figures were associated with spirits, magic, and vengeance. Traditionally, they were said to be created from materials such as animal parts, bone, skin, and sometimes other remains, then brought to life through ritual power to harm an enemy.

The surviving tupilaqs seen today are usually later carvings made from materials like wood, ivory, or bone, especially from the late 1800s onward. These were often created as preserved artistic objects, but they still reflect an older spiritual world filled with fear, power, and unseen forces.

Their twisted shapes, hollow eyes, and unsettling forms were not meant to look beautiful in a simple way.

Fragmentary Leaf from an Ashtasahasrika Prajnaparamita Sutra

Kashmir or western Tibet, 12th century

Gold, lapis lazuli, cinnabar, indigo, and orpiment pigments and black ink on paper

"Freak Antlers of Whitetail"

Lives of Game Animals, Volume 3. 1927. Written and illustrated by Ernest Thompson Seton.