“Dorothy Napangardi tells detailed, important stories in exquisite paintings. These extraordinary works may appear to be intricate black and white abstractions, but for Napangardi and her people they recount the stories of Jukurrpa, or Dreaming, which prescribes laws, moral codes and rules for dealing with the environment.”

“In a way it reminded me of Auntie Emily Kngwarreye’s work, the way she put down her Yam (Dreaming); same idea. Not same dreaming - Dorothy has different Dreaming - same idea in a way, but different Dreaming… . Not same brushstroke, different stroke. Dorothy painting always reminds me of women dancing, really in formation, dancing for ceremony.” — Kathleen Petyarre

Dorothy Napangardi, Sandhills, Acrylic on linen

[a video of her painting process here (part 1 of 3); image source *]

Donald Sultan, Pomegranates III, 1990, Etching; Aquatint

Donald Sultan, Mimosa, May 8, 2008, Screenprint in colors on wove paper

Shusaku Arakawa, The Signified or If, ca. 1975, etching, aquatint on arches paper

“Original lithograph by Japanese artist and architect Shusaku Arakawa from the portfolio “Hommage à Aimé et Marguerite Maeght”, published in 1982 as a retrospect on the occasion of Aimé Maeghts death.” — [book info.]

Shusaku Arakawa, Hommage à Aimé et Marguerite Maeght, 1982

“The post-1967 abstractions have seemed to many sufficiently referential so that it is a critical commonplace to see them as suffused with a special California light, and as dense with coastal allusions to sky, ocean, seaside and sun, tawny hills, bleached architecture, sharp shadows and angular illuminations, green expanses and glimpsed distant blues, and possibly haunted by the erasure of human presences.”

— Arthur Danto, Encounters & Reflections: Art in the Historical Present

[excerpt here]

Richard Diebenkorn, Aquatint with Drypoint Halo, 1978