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Sam Lewitt

Howling Dog Effigy, Jalisco, 300 BC-AD 200. 
Why were dogs so significant to the Mexica?
Dogs were associated with the god of death, Xolotl, among the Mexicas of the highlands of Mexico. Both a dog and Xolotl were thought to lead the soul to the underworld. The skinny body and white hue of the shown dog represented above may have underworld connotations, connecting it to this belief. Xolotl was also associated by the Mexica with the planet Venus as the evening star, and was portrayed with a canine head.

The dog’s special relationship with humans is highlighted by a number of Colima dog effigies wearing humanoid masks. This curious effigy type has been interpreted as a shamanic transformation image or as a reference to the modern Huichol myth of the origin of the first wife, who was transformed from a dog into a human. However, recent scholarship suggests a new explanation of these sculptures as the depiction of the animal’s tonalli, its inner essence, which is made manifest by being given human form via the mask.
The use of the human face to make reference to an object’s or animal’s inner spirit is found in the artworks of many ancient cultures of the Americas, from the Inuit of Alaska and northern Canada to peoples in Argentina and Chile. (Walters)

On the subject of the significance of dogs, and dog effigies wearing humanoid masks, check out this post from a while back of ‘examples of dogs represented in ancient Mexican art.’ The final artefact here is from Colima, and shows a dog wearing a human mask.
Courtesy of & currently located at the Walters Art Museum, Baltimore, USA, via their online collections, 2009.20.148.

Rand Hardy, Sprawling Dog, 2011

Stef DriesenUntitled. 2008Oil on linen19.7 H x 15.75 W in

Servane Mary Untitled (Julie Newmar and The Silver Salts), 2012 

Hanne Friis, Light Stream, 2013Bleached canvas, handseam

Paul Klee
These get lovelier …

Àngels Ribé - Six Possibilities of Occupying a Given Space, 1975

Olafur Eliasson - Your Watercolor Machine (2009)

Marc Katano - India, 2013

Guillaume Adjutor Provost, Oriental street name, 2014, hectographic ink and graphite on paper, 30 cm x 25 cm


morning ritual
still from video

Piotr Urbaniec


Henning Bohl

Namenloses Grauen (Nameless Horror), 2012, steel, wood, cardboard, hot glue, spray paint, 341 x 138 x 100 cm

Ryosuke Yazaki