Katherine Keenum

We can detect movement most easily through sight: we see something change position in relation to other objects. We hear movement: rustling, whooshing, gurgling; Doppler changes in volume and pitch. We feel it as changes in pressure against our skin or bodies: mothwing zephyrs, vibrating tuning forks that buzz in our fingers, the ripple  Read More 

After reading David Abram’s deeply thought-provoking book, Becoming Animal, I have been thinking about what it means to open oneself to the world through all of the bodily senses and more particularly how to incorporate such awareness into fiction. Can an artistic medium effectively communicate what is perceived through seemingly unrelated senses? Read More 

At special exhibitions, I sometimes play the game of deciding which picture or object I would take home with me if I could. I’ve just been to the Clark Art Institute to see Drawn to Greatness: Master Drawings from the Thaw Collection, which  Read More 

Blog post alert: James Gurney’s post on Von Hayek’s Animal-Painting Academy is the source of this photo of women artists en plein air. Besides the art-historical angle (and the clothes), I love the farmers in the distance watching. What story do you suppose they might tell?! Read More 

As a follow-up to yesterday’s post on Juana Romani, here’s a drawing of her by the prolific painter, sculptor, and Art Nouveau designer Victor Prouvé. I love the informality of the portfolio propped on a chair—not to mention the formality of the hat.

Prouvé was as new to me as she was. The best article about him turned up by a quick Google search is Victor Prouvé : un artiste transversal (in French). Read More 

I wish I had known about the artist’s model and painter, Juana Romani when I was writing Where the Light Falls. She actually posed for Carolus-Duran and studied with his associate, Jacques Henner—although, maybe it’s just as well  Read More