Images unique and inspirational, natural and created, sacred and profane. Curated by kimboo york


Contemporary Art Week!


Lost silent film with all-Native American cast found

The Daughter of Dawn, an 80-minute feature film, was shot in July of 1920 in the Wichita Mountains Wildlife Refuge near Lawton, southwest Oklahoma. It was unique in the annals of silent film (or talkies, for that matter) for having a cast of 300 Comanches and Kiowas who brought their own clothes, horses, tipis, everyday props and who told their story without a single reference to the United States Cavalry. It was a love story, a four-person star-crossed romance that ends with the two main characters together happily ever after. There are two buffalo hunt sequences with actual herds of buffalo being chased down by hunters on bareback just as they had done on the Plains 50 years earlier.

The male lead was played by White Parker; another featured female role was played by Wanada Parker. They were the son and daughter of the powerful Comanche chief Quanah Parker, the last of the free Plains Quahadi Comanche warriors. He never lost a battle to United States forces, but, his people sick and starving, he surrendered at Fort Sill in 1875. Quanah was the son of Comanche chief Peta Nocona and Cynthia Ann Parker, the daughter of Euro-American settlers who had grown up in the tribe after she was kidnapped as a child by the Comanches who killed her parents. She was the model for Stands With a Fist in Dances with Wolves.

You can watch the first ten minutes of the film here. It is over 90 years old, and was produced by, directed by, and stars Native American people.

oldentimes asked: Ok I'm working on improving my portfolio for an interview for illustration and graphics comunnication university courses. I realised all I draw are realistic pencil portraits from favourite photographers or copy other artists e.g Iain MacArthur. I know I need other things but what?!? I just bought some markers/water colours in an attempt to diversify my work but what else can I do?!? I also don't have any original work, I don't really know how to do anything original. HELP!?



I never was applying for illustration so I don’t know what exactly the portfolio requirements are. Can our followers help out?

Universities do not like pictures copied from photographs that are not your own or copying artist. They want color/value studies, life drawings, still life, and original illustrations in portfolios! - 

Schools don’t like to see things copied from 2D sources—I’ve worked behind-the-scenes on portfolio reviews before, and it’s one of the main ways to immediately kill off interest in your work. Search online to for tips in regards to setting up still lives and drawing from life, and start with little practice sketches until you get comfortable with it.

I’m not going to lie; that transition can be difficult. My biggest advice would be to grab scrap paper—stuff that’s been printed or written on, or torn, or whatever—and just sketch any and everything you see. If you’re doing it on paper that’s not pristine, it tends to help keep you a bit more relaxed and willing to make mistakes (I use moleskine sketchbooks nearly exclusively, but had a hard time starting new ones because they were so expensive and pretty looking, until I started purposefully screwing up the first page; it helps a surprising amount).

The real trick to drawing is to learn how to see. It’s a lot harder than it sounds, and something that everybody struggles with. We all grow up with an engrained set of symbols representing objects (the football-shaped eye is a classic example), and think we know what things look like because we see them on an everyday basis, but step one to drawing from life is to not trust your mind. Draw what you see, not what you think you see. Check your angles an proportions more than you think you need to. Look at the nuances in shadow. Check out how reflections work on surfaces you wouldn’t normally assume are reflective.

Hell, take a half hour walking around whatever room you’re in and just observe. You’ll be surprised at how much you miss without realizing it.

Drawing from life is hard to learn for a lot of people, but like with all things in art, it just takes practice. Don’t worry about interesting subject matter when you start out—draw everything.

Once you’re comfortable with that, then move on to practicing composition, lighting, and all that jazz. Don’t try to do everything at once; you’ll just overwhelm yourself and psyche yourself out. Take it a step at a time.

I’ve got a couple all-time favorite pieces of art advice that might help, so let me link those here in case they help:

Focus on showing off what you’re good at. Diversity is helpful, but don’t include subpar work just because you feel you need something made with colored pencil or whatnot. Especially if you’re low on time, start with your strengths and expand from there.

I could give a better run-down of the whole portfolio process, but I don’t have time right now to give a catch-all response (I might in the future, but who knows). If anyone’s got questions feel free to hit up my ask box and I’m happy to help! It’s just easier to give specifics than to try to cater to every possible situation and school.

(and sorry if this is a little nonsensical anywhere, but it’s 7:30 in the morning and I haven’t slept… I think it gets the general point across, though. like I said, I’m always happy to chat, and would probably sound more logical when I’m not bouncing all over the place in terms of topic)

A man once asked me … how I managed in my books to write such natural conversation between men when they were by themselves. Was I, by any chance, a member of a large, mixed family with a lot of male friends? I replied that, on the contrary, I was an only child and had practically never seen or spoken to any men of my own age till I was about twenty-five. “Well,” said the man, “I shouldn’t have expected a woman (meaning me) to have been able to make it so convincing.” I replied that I had coped with this difficult problem by making my men talk, as far as possible, like ordinary human beings. This aspect of the matter seemed to surprise the other speaker; he said no more, but took it away to chew it over. One of these days it may quite likely occur to him that women, as well as men, when left to themselves, talk very much like human beings also.

Dorothy L. SayersAre Women Human?: Astute and Witty Essays on the Role of Women in Society

Book Geek Quote #445

(via bookgeekconfessions)

(via hellotailor)


1953 Bobertz Residence | Architect: Craig-Ellwood | San Diego, CA | Photo: Darren Bradley - Via


1953 Bobertz Residence | Architect: Craig-Ellwood | San Diego, CA | Photo: Darren Bradley - Via



[Series of texts by @fatnutritionist, which read: “People are mad at me because they ‘work so hard’ to be fit or lose weight. They have told me this explicitly. It implies that they think my rejecting the values they subscribe to can somehow take away the fitness they’ve worked for. That is totally delusional. If you’ve worked hard for fitness, no amount of fat people rejecting stigma can take that away. So this is obviously not actually about fitness, at all. It’s about the other thing they ‘worked hard’ for: social status. They DO think, and they know, that the social status they have worked hard to earn, through ‘fitness,’ can be devalued. It can be devalued if the hierarchy that rewards them is crushed. Crushed by people rejecting stigma. We can’t take away your fitness or whatever weight you’ve lost. But we can devalue those things by destroying fat stigma. So they are afraid of us, and for good reason. If fat people aren’t stigmatized, then there is no more thin privilege. Remember always, fat people: People are afraid of you because you have an awesome power - to destroy the hierarchy. If they were not afraid of losing their place in the hierarchy, they would not come after you so viciously.” All tweets were accompanied by the hashtag, #notyourgoodfatty]

Read the full thread of Michelle’s tweets on Storify.

Well, damn.

(via theefrosty)