Inuit sculpture
Some of these pictures have made the rounds for more than a decade, I believe some are from the 1973 book "Eskimo Art" by Cottie Burland
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Inuit sculpture
Some of these pictures have made the rounds for more than a decade, I believe some are from the 1973 book "Eskimo Art" by Cottie Burland

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'He stands slack-jawed, his four front teeth protruding from his open mouth like uneven stalactites. His head is topped by a mess of curls, which look more like sheets of parchment than strands of hair, and his jug ears stick so far out from his cylindrical face that theyâre almost flush with his jiggly eyes. His dainty chicken feet, joined to spindly legs, are complemented by large, grand wings â spread open, but tangled and ungainly. Paul Kleeâs Angelus Novus, a 1920 oil transfer drawing with watercolour, is a fearsome but fragile seraph: afloat, aghast, going who knows where. âThis,â wrote Walter Benjamin, the philosopher who first owned the monoprint, âis how one pictures the Angel of History.â
'âA Klee painting named Angelus Novus,â Benjamin wrote in the ninth thesis, âshows an angel looking as though he is about to move away from something he is fixedly contemplating.â (It is in fact not a painting at all: Kleeâs oil transfer technique, a method of his own invention, involved slathering a piece of tracing paper with printerâs ink, then placing a drawing paper underneath and scratching the top paper with a needle to make an impression on the one below.) Benjamin went on: âHis face is turned toward the past. Where we perceive a chain of events, he sees one catastrophe, which keeps piling wreckage upon wreckage hurling it before his feet.â Then Benjamin takes a turn for the clouds: âA storm is blowing from Paradise; it has got caught in his wings with such violence the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward.â'
how klee's 'angel of history' took flight
William E. Jones, Four Frames from âSpatial Disorientationâ, (2010)
Sequence of digital files, color, silent, 4 minutes and 45 seconds looped.
 The original footage of Spatial Disorientation is a flight test seen from the cockpit of a U. S. Air Force plane. The material has been edited into a loop that repeats in variations: magenta, blue and green.
Unreal Shejtano
The Decline of Western Civilization IIIÂ dir. Penelope Spheeris (1998)

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âI dreamed of becoming a great philosopher. My ambition was cut short.â
SAINT OMER (2022) dir. Alice Diop
Nan Goldinâs photos in All the Beauty and the Bloodshed (Laura Poitras, 2022) Â
Ernst Fuchs, âThe Spirit of Mercuryâ 1954
Agnes Denes, photographed in the summer of 1982 amid the two acres of wheat she planted and harvested in New York City, two blocks from Wall Street and the World Trade Center and facing the Statue of Liberty
Leonora Carrington (English-Mexican, 1917-2011, b. Clayton-le-Woods, Lancashire, England, d. Mexico City, Mexico) - La Silla: Daghda Tuatha dé Dannaan, 1955, Paintings: Oil on Canvas, Private Collection

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Patrick Hickey (Irish, 1927-1998), Still Life with Oysters. Oil on canvas, 25 x 30 in.
Leonora Carrington (English-Mexican, 1917-2011) - Map of down below, ink on paper, 12.75 x 9.88 cm (1941)
Christian Boltanski (1944) Théùtre dâombres (Theatre of Shadows)
Nancy Spero, Goddess Nut / Acrobat, 1989
Handprinting on handmade paper
Minnie and Moskowitz, 1971

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Béatrice Dalle in La Belle Histoire (dir. Claude Lelouch - 1992).
âExtraction and assimilation go together. Colonialism and capitalism are based on extracting and assimilating. My land is seen as a resource. My relatives in the plant and animal worlds are seen as resources. My culture and knowledge is a resource. My body is a resource and my children are a resource because they are the potential to grow, maintain, and uphold the extraction-assimilation system. The act of extraction removes all of the relationships that give whatever is being extracted meaning. Extracting is taking. Actually, extracting is stealingâit is taking without consent, without thought, care or even knowledge of the impacts that extraction has on the other living things in that environment. Thatâs always been a part of colonialism and conquest. Colonialism has always extracted the indigenousâextraction of indigenous knowledge, indigenous women, indigenous peoples ⊠Children from parents. Children from families. Children from the land. Children from our political system and our system of governance. Childrenâour most precious gift. In this kind of thinking, every part of our culture that is seemingly useful to the extractivist mindset gets extracted. The canoe, the kayak, any technology that we had that was useful was extracted and assimilated into the culture of the settlers without regard for the people and the knowledge that created it.â
-Â Leanne Betasamosake Simpson
In conversation with Naomi Klein