If you are out and about in New York City, this may be for you:
Anne Samat is a contemporary artist from Malaysia who works with fiber and weaving techniques from archipelagic Southeast Asia. Continue reading
We shared another story years ago about a creative response to an ocean spill, but it was the frequent kind of spill, involving oil. More common in our pages are stories about creative responses to the plague of waste, especially that from plastic. Today’s story is in good company:
Over the decades, a mass of flotsam from a freighter accident has inspired scientific discovery, urban legend and, now, an art exhibition commemorating the Great Sneaker Spill of 1990.
It seemingly happened so long ago that the event has assumed elements of urban legend — the saga of the Great Sneaker Spill.
Sometimes referred to as the Great Shoe Spill, the tale recounts an event on May 27, 1990, when, during a sudden violent storm in the North Pacific, five shipping containers were swept off the deck of the freighter Hansea Carrier somewhere between Seoul and Seattle.
Of the 40-foot steel boxes that broke loose and crashed into the ocean, one sank to the bottom and four broke open to spill out a stream of contents that included computer monitors, sex toys and 61,280 Nike sneakers destined for America’s basketball courts and city streets.
The incident went on to become a parable of environmental disaster, as well as a red-letter event in the history of sneakerheads. For months, the buoyant flotilla drifted, carried by wind and currents until, in early 1991, beachcombers reported coming upon batches of the sneakers off Vancouver Island in Canada, pushed north on the Davidson Current. That spring, driven southward by opposing breezes, more of them turned up along the coastlines of Washington and Oregon.
The Great Sneaker Spill might have gone unremembered had it not been for the enterprising scavengers who washed and resold the flotsam and Curtis Ebbesmeyer, an oceanographer who, alerted to the spill’s existence by his mother, later used it as the basis for a study of little-known currents. Continue reading
In these pages the impacts of the pandemic have not been a regular feature, but since early on it was clear we would be feeling the impact for a long time. Each passing week has given us reason to think about how we can adjust what we do. Click the image to the right for a conversation with an illustrator who captures that spirit of adjustment in his own context. At the end of the conversation you can see past cover illustrations that have themes related to bicycles. Not a bad way to start a new week:
As covid-19 infection rates have risen in New York, and the city braces for winter, it can be hard to see a reason for optimism. For his latest New Yorker cover, R. Kikuo Johnson finds one: the welcome surge of cycling across the boroughs. We recently talked to Johnson about biking, working from home, and one of his favorite views in the city.
This is such a lovely image amid dark times. Was there a moment when inspiration struck?
When I think of New York City, the first image that comes to mind is the view from the Williamsburg Bridge. From the top, you see the whole city at once: skyscrapers, graffiti, at least four bridges, the Statue of Liberty, sweating crowds in a rush. Continue reading
Our thanks to Samantha Sarafin for news on 21st century technology allowing museums to share artisanal glass from earlier centuries, among other things:
3D images of 19th-century glass marine invertebrates go online
Five researchers set out three years ago to capture the full beauty of a museum’s famous glass models through images. Continue reading
8+ years since the first link, and nearly 6 years since the last link to Maira Kalman‘s work, we are happy to see that a new book is en route. If you want to contribute to a novel get-out-the-vote mechanism, this may be for you:
by Maira Kalman
100% of the proceeds will be donated to organizations working to bring out the vote, including the ACLU.
4.25” x 5.5” / 40 pages / Color / Stitched binding
Booklets will ship via USPS in October. We will ship as quickly as we can.
Every tree you encounter will lift your spirits.
(limit 10 booklets per order.)
Thanks to the New Yorker for bringing this to our attention with the following:
There are two trees that have changed my life. The first was in Riverdale, the Bronx. It was in Henry Hudson Park, which was behind our building. My mother took me to the public library. Big windows, light pouring in. I was able to take books out to the park. I am eight years old or so, sitting in the tree in the park and reading “Pippi Longstocking.” In my memory, I was alone. The book was about a girl bursting with self-confidence and force. No parents in sight. A fantasy with madcap humor and a touching sense of kindness. This was me. And in those decisive, enchanted moments, I decided that I would write stories.
When I was nineteen, I spent the summer in England, travelling with a friend and knocking about. We found ourselves in Ayot St. Lawrence, a little village outside of London. We were walking somewhere and passed a field with an immense tree in it. Maybe it was not far from a church or cemetery. Maybe I had just finished eating scones with clotted cream. At any rate, it took my breath away.
No tree since has made me feel that way. I have met many trees that I adore and admire. But that particular tree, on that particular day, has become one of the images in my life-is-good column…
Although the exhibit highlighted here began in January (notably directly following the holiday honoring MLK), we have the CS Monitor to thank for bringing it to our attention. The museum is currently closed due to the coronavirus outbreaks, but the making of video on the MFA website shows some highlights, and we can only hope that there will be opportunity to visit it in person before the end date of June 20th.
“The teen curators—fellows from youth empowerment organizations Becoming a Man (BAM), The BASE, and the Bloomberg Arts Internship Boston program managed by EdVestors—used skills they developed as paid interns in a pilot internship program at the MFA to research, interpret, and design the exhibition. Their work highlights areas of excellence within the Museum’s collection and lays foundations for the future.”
Jadon Smith steps closer to his favorite painting by Archibald Motley, carefully examining the details he’s looked at many times before, a smile from ear to ear. At the center of the piece, five elegant women dressed in their Sunday best sit in a restaurant. One woman, hidden in the background, catches his attention.
“Women are the centerpiece of the whole entire painting,” says Jadon, a junior at John D. O’Bryant School of Mathematics and Science, during a visit to Boston’s Museum of Fine Arts in early March. “They’re supposed to be there to be seen. Don’t ignore them. Notice that they’re there, appreciate the fact that they’re there.”
Jadon is one of six local teens selected to craft “Black Histories, Black Futures” – the museum’s first exhibition curated entirely by high school students. The MFA’s exhibition, the culmination of a partnership with local youth empowerment organizations, reflects a growing trend, one that has museums working to engage and represent a more diverse population within the field of fine art. Including young people in the curation process not only trains the next generation of curators, say museum staffers, but it also helps aging institutions display refreshing and inclusive exhibitions inspired by the young curators’ own experiences.
“This institution is 150 years old. And so what does that mean for young people? Where do young people belong in such an old institution?” says Layla Bermeo, an associate curator at the MFA. “This project really tried to argue that young people belong in the center.”.. Continue reading
To the left you can see yesterday’s viewership of our posts, by country. Viewership has recently been low, for obvious reasons. It has made me wonder whether we should take a hiatus. My counter-thought is, if on a day like yesterday, just one person visited this site and found something of value, we should continue. As of today there have been 696,713 views of all of our posts since we started in mid-2011. Yesterday someone viewed a post I distinctly remember writing some months ago, which brought a smile to my face. And just now I was downloading a file using WeTransfer, and this story presented itself, and it seems a perfect companion piece:
For 22 years, 15 Rwandan women have been turning their surroundings and their memories into beautiful textile art. Founded in 1997 by Christiane Rwagatare a short time after the genocide of 1994, the Savane Rutongo-Kabuye workshop offered a distraction, a source of income and a creative avenue to those who had been affected. The workshop has gone from strength to strength, and thanks to educator-turned-curator Juliana Meehan, the embroideries of the women of Rwanda have now been exhibited and seen across the US. Alex Kahl spoke to Christiane and Juliana to explore their uplifting story.
Due to her home country Rwanda’s turbulent history, Christiane Rwagatare lived much of her early life in exile. When she returned in 1994 in the aftermath of the genocide, the country had been devastated. “It was a very difficult time,” she says. In 1997, when she was visiting a relative in the small village of Rutongo, she saw women selling hand embroidered linens on the roadside, and felt an immediate sense of hope and possibility. At this moment, she recalled all that she had learned about art while in Europe, and knew she could contribute something positive. She announced that she would be starting an embroidery workshop, and asked that anyone interested come to the village church the next day. She was shocked when more than 100 women arrived with samples of their work.
“I must admit that I panicked,” Christiane says. Continue reading
A couple years ago we linked to a story about urban murals and now, progress:
The Audubon Mural Project is a collaboration between the National Audubon Society and Gitler &_____ Gallery to create murals of climate-threatened birds throughout John James Audubon’s old Harlem‐based neighborhood in New York City.
The project is inspired by the legacy of the great American bird artist and pioneering ornithologist and is energized by Audubon’s groundbreaking report “Survival By Degrees.” Audubon’s scientists have found that climate change will threaten at least half of all North American birds with extinction, and that no bird will escape the impacts of climate-change-related hazards like increased wildfire and sea-level rise. The project commissions artists to paint murals to call attention to this problem, and it has been widely covered in the media, including The New York Times.
On the website where Audubon features these murals you can click through to see the individual stories of each, including lots of interesting species information:
Location: 1883, 1885, and 1887 Amsterdam, New York, NY 10032 Continue reading
An artist doing something about it. Whether or not the root problem is solved, we can all be more creative about doing something about the problem. Angela Haseltine Pozzi demonstrates by example. That’s a nice story to start the day with. Thanks to National Public Radio (USA) for brightening our day:
At Coquille Point along the remote and rugged southern Oregon Coast, the wind is tumultuous and the sea just as violent. Huge waves crash up against the giant, moss-cloaked rocks perched off the beach.
This particular stretch of the Oregon coastline is famous for being pristine and wild. But train your eyes down a little closer to the beach and sand as Angela Haseltine Pozzi so often does, and even here you’ll find bits of plastic.
“I think the most disturbing thing I find is detergent bottles and bleach bottles with giant bite marks out of them by fish,” she says.
Haseltine Pozzi is a local artist and longtime art teacher who’s made it her mission to collect as much of this shameful garbage as possible. It washes up from Asia, Europe, California and right here in Oregon.
In her gallery in the nearby town of Bandon, where she’d spend summers with her grandmother exploring the wild beaches, she’s now taking these plastic invaders and turning them into jaw-dropping sculptures. The plastic bottle caps, cocktail toothpicks, shotgun shell casings — anything — form life-size garbage creatures of the very marine life threatened by all this plastic. Continue reading
TALAMONE, Italy — As the Sirena brought its passengers back to port, Paolo Fanciulli paused from spreading his nets and sustainable fishing gospel to point at an empty spot of sea.
“There, below the lighthouse,” said Mr. Fanciulli, clad in his rib-high yellow waders. “The sculptures are there.”
About 25 feet below the rippling surface of this rocky promontory on the southern Tuscan coast, schools of fish visited a museum of four marble blocks, mined from Michelangelo’s preferred quarry and sculpted by acclaimed artists.
Farther north, another 20 Carrara marble sculptures had a different job — as submerged sentries against the illegal bottom trawling that has depleted Talamone’s marine life. Continue reading
Thanks to Jessica Leigh Hester at Atlas Obscura for this:
Blighted, century-old produce goes back on display for the first time in decades.
THERE’S SOMETHING A BIT BRAIN-SCRAMBLING about this particular buffet of fruit. If you’ve ever let something languish on the counter or in the fridge a little too long, the white fuzz blanketing the shriveling strawberries or the spots of rot on the surface of a pear might look fairly familiar. But there’s something else that doesn’t feel quite right.
“You almost expect to be able to smell it,” says Scott Fulton, a conservator at the Harvard Museum of Natural History. “We all know what a rotten apple smells like.” But the fruit Fulton has been working on doesn’t smell at all: It’s made of glass. Beginning August 31, 2019, it will all be behind glass, too, back on temporary exhibit at the museum after nearly two decades in storage. Continue reading
Blanton Museum of Art, for one more day, offers this:
Exactly 500 years ago, in August of 1519, an expedition led by the Spanish explorer Hernando Cortés began marching inland into Mexican territory. Just two years later, what today is Mexico City fell to an ethnically diverse army composed of both Spanish and local peoples from other cities, starting a long period of European colonization. This exhibition aims to expand our perspective on these events by featuring a selection of maps, known as Mapas de las Relaciones Geográficas, created by Indigenous artists around 1580. These unique documents show some of the visual strategies used by native communities for the endurance and perseverance of their cultures throughout the so-called colonial period and well beyond.
At the Blanton Museum of Art in Austin, Texas, 19 maps, nearly 440 years old, are on display — and they look spectacular. “Works on paper are delicate so we’re only allowed to put them on display for nine months out of 10 years,” says Blanton Museum communications director Carlotta Stankiewicz.
The Mapping Memory exhibition contains work by indigenous mapmakers from the late 1500s. The maps demonstrate a very different sense of space than maps drawn by Europeans. They’re not drawn to scale; instead, they’re deeply utilitarian.
A map of Culhuacán, for example, shows rivers running straight, with tiny arrows in the middle, indicating which way they flow. The pathways curve like snakes, with footprints or hoofprints indicating whether the paths can be walked or ridden. Continue reading
During our 7 years in India we experienced the development and growth of the Kochi-Muziris Biennale – from the early days of the first edition in 2012, to direct involvement in 2014, to an even more successful 3rd edition in 2016. The diversity of India is undeniable, and the country’s first art biennale has increased its reach continually in both the breadth of the artists involved, and the depth of its work toward community outreach and inclusivity.
Having been exposed to Art myself from an early age, it’s difficult to describe the pleasure I felt seeing groups of school children, accompanied by parents and teachers, experiencing the wide range of installations and exhibits in the different venues of the biennale.
Reading now about Portal: Governors Island, I wonder how I could have possibly missed it, but then again – we were living in India! I love how the NYTimes called it an “Art Fair for the 99%”. I would love to be the one to introduce the KMB team to the non-profit team 4heads, who organizes this annual September event.
There’s still time to get there, so if you happen to be in New York…
Our mission as an artist-created organization, is to cultivate a supportive community by hosting free large-scale art fairs and studio residency programs for under-represented artists, and by tailoring arts education programs for underserved youth. With a strong focus on artistic excellence and inclusion, we revitalize historic spaces with contemporary art, as we continue to enrich and expand our creative community: a socially, economically, and culturally diverse reflection of New York City itself.
On Saturday, August 31, 2019, 4heads will open Portal: Governors Island (formerly known as Governors Island Art Fair), featuring a diverse range of artists from across the U.S. and abroad. Installations, which span the spectrum of artistic genre and media, will be presented across eight of the historic homes on Colonels Row, with each artist installing in an individual room or connective space. Now in its 12th year, Portal: GI heralds the start of the fall visual arts season in New York, with a spirited atmosphere that encourages conversation between artists and visitors and challenges the established fair paradigm as one exclusively for art connoisseurs. Portal: GI will be open every Saturday and Sunday through from August 31 to September 29, 2019. Continue reading
Plastics have transformed every aspect of our lives. Yet the very properties that make them attractive—they are cheap to make, light, and durable—spell disaster when trash makes its way into the environment. Plastic Soup: An Atlas of Ocean Pollution is a beautifully-illustrated survey of the plastics clogging our seas, their impacts on wildlife and people around the world, and inspirational initiatives designed to tackle the problem.
In Plastic Soup, Michiel Roscam Abbing of the Plastic Soup Foundation reveals the scope of the issue: plastic trash now lurks on every corner of the planet. With striking photography and graphics, Plastic Soup brings this challenge to brilliant life for readers. Yet it also sends a message of hope; although the scale of the problem is massive, so is the dedication of activists working to check it. Plastic Soup highlights a diverse array of projects to curb plastic waste and raise awareness, from plastic-free grocery stores to innovative laws and art installations.
According to some estimates, if we continue on our current path, the oceans will contain more plastic than fish by the year 2050. Created to inform and inspire readers, Plastic Soup is a critical tool in the fight to reverse this trend.
I do not have a tattoo. If I did, it may be that a bird would adorn my arm. Our efforts to promote the joys of birdwatching combined with the conservation benefits that come from increased concern for bird habitat all suggest that I would be susceptible. I came of age during the emergence of punk rock, so the possibilities are there:
Punk has always been about embracing different forms of expression. Meet the people who are putting birding on that spectrum.
It’s the evening golden hour at the John Heinz National Wildlife Refuge at Tinicum. A whirlwind of swallows swims through the soft light, chasing midges into a frenzy. Nearby on a platform a handful of birders scans the dimming sky, exposed to the marsh and its blood-thirsty elements.
In plain T-shirts and khakis, the group blends into the woods-y backdrop—with two exceptions. Caleb Hunt, a bookkeeper for an adult-entertainment boutique, rocks a Philly Punx tank top with a fanged, horned Benjamin Franklin splashed across the front. Next to her, Tony Croasdale, the leader of today’s walk, sports an aviary of skin art. A Swallow-tailed Kite, Belted Kingfisher, Scissor-tailed Flycatcher, Greater Racket-tailed Drongo, Scarlet Tanager, and three types of vultures bedeck his legs, collarbone, and arms.
Croasdale’s tattoos pay homage to two of his biggest life passions: birding and punk rocking. He plunged into the first as a kid when his father took him to Philadelphia’s Pennypack Park to learn about kingfishers. Continue reading
The Ogelthorpe University Museum of Art is one of the gems of the Atlanta area, for good reason. Not only does the museum have its own well curated collections, it receives visiting collections that are timely and powerful.
Tara Rice‘s Grandmother Project photographic series highlights the historically matriarchal influence within African cultures, coinciding with the project based in Senegal “promoting health, well-being and rights of women and children in developing countries through grandmother-inclusive and intergenerational programs that build on communities’ cultural values and resources.”
The photo series dovetails perfectly with the female centric collection of sculptures and masks in the sister exhibit, Stories Without an End.
January 18 – April 21, 2018
The exhibition Stories Without an End: Power, Beauty and Wisdom of Women in African Art of the Mehta Collection includes a selection of 50 classically carved wooden sculptures and masks drawn from the collection of Dileep and Martha Mehta.
The exhibition represents art from more than 25 ethnic groups spanning 12 countries. These objects are gathered into thematic groups including women in governance, maternity, idealized beauty, and female ancestors.
OUMA members Dileep and Martha Mehta are collectors of African and Asian arts. Their African art collection, including objects in this exhibit, has greatly benefited from diligent sourcing by and wise counsel of African Art dealers Tamba Kaba and Sanoussi Kalle.
This exhibition was developed by Elizabeth H. Peterson, OUMA director, and organized by Amanda Hellman, PhD, curator of African art, Michael C. Carlos Museum, Emory University.
Stories Without an End was inspired in part by the work of the Grandmother Project (GMP) an American 501(c)(3) nonprofit organization and a Senegalese NGO with representatives throughout the USA and abroad. GMP, with headquarters in Senegal, works with elders in West African villages to fight the maltreatment of young girls. This includes bettering maternal and child nutrition, reproductive health, and marriage standards. The exhibition title is inspired by the GMP initiative “stories without an ending,” which is a tool used to facilitate communication via the elders. For more about the Grandmother Project please visit www.grandmotherproject.org.
January 18 – April 21, 2019
The Grandmother Project (GMP) develops community approaches that promote positive and sustained improvements in the lives of girls, children, women, and families by building on existing cultural and community values, roles and assets in southern Senegal. Continue reading
Time for a break from the regular news. Here are some visual reminders of why we care for nature, and why we protect it. Thanks to the Guardian for bringing this photographer’s unique technique to our attention in the photo feature titled The butterfly effect: wings in extreme close-up – in pictures:
In his new series Metamorphosis, photographer Jake Mosher composes artworks using hundreds of exposures of highly magnified butterflies’ and moths’ wings
All photographs by Jake Mosher
*** Featured in the Royal Photographic Society’s Journal, and also in The Guardian. Please take a look at their photo gallery display here.***
Limited edition, 1 of 1 pieces. When one sells, it will not be reprinted in any size, ever. This is your chance to own collectible, one-of-a-kind pieces of art the likes of which the world has never seen before.
These images are the composition of hundreds – and sometimes thousands – of 4:1 macro photographs of butterfly and moth wings. There is no artificial color, imported designs, or any “drawn” artifacts. This is art and photography intertwined, and these images are only available here. This work has been recognized as entirely unique to me. Continue reading
The beautiful herd of Asian Elephants calmly drinking from this watering hole poses no threat to any onlooker. They’re actually sculptures made from the invasive lantana, introduced to the Indian subcontinent as an ornamental shrub by the British. The harmless looking plant is a scourge to native flora, animals and people of the regions where it’s taken over, as it literally poisons its surroundings so nothing else can survive there, destroying the natural biodiversity of the area.
30 of these extraordinary, life-sized works of art have been on display in Kerala, at Kochi’s South Beach, coinciding with the Kochi-Muziris Biennale. The outdoor exhibit, entitled Co-Exist: Matriarchs for a Whole Earth, is on display for only until the end of February, after which it will travel to Bangalore and New Delhi. In 2020, the elephant models will be taken to England where they will be displayed at the Victoria and Albert Museum and the Royal Parks, both in London. In 2021, they will travel by truck across the USA, where they will finally be auctioned, the proceeds of which will go to preservation of wild animals.
The project is a collaboration between multiple organizations, designers and indigenous community artisans. Members of the Ashoka Trust Trust for Research in Ecology & the Environment (ATREE) devised a way to safely craft with lantana as a raw material and support for the making and display of lantana elephants is through the NGOs Elephant Family, The Real Elephant Collective (TREC), and The Shola Trust.
Highlighting the cause of nature and wildlife conservation at a global scale, the Lantana elephants are part of a greater initiative to raise funds for conservation and help people and elephants live together more harmoniously.
On February 7, if you are wandering around the popular South Beach in Fort Kochi, you are sure to come across a magnificent herd of 100 Asian elephants.
If you are wondering about the possibility of such a huge congregation of these beings at one place, let us break the news.
These are beautifully sculpted life-size elephants that have been made by tribal artisans from Thorapalli in Gudalur using Lantana camara or Lantana, a toxic invasive weed.
Lantana elephants are part of a greater initiative to raise funds for conservation and help people and elephants live together more harmoniously.
“Our vision is to bring Asia’s elephants and the issues they face out of India and the shadow cast by the African ivory crisis. With Asian elephants numbering only a tenth of their African counterparts, the importance of this unique migration cannot be underplayed. The survival of a species is at stake,” says Ruth Ganesh, principal trustee and the creative force of Elephant Family.
She had conceptualised the Lantana herd along with Shubhra Nayar of TREC. Modelled on real elephants from the Gudalur-Pandalur region, in its bid to raise awareness and funds for the conservation of Asian elephants, this unique project is also clearing the harmful Lantana from the Nilgiri forests while providing livelihoods to about 70 artisans from the Paniya, Bettakurumba and Soliga communities.
With their inherent knowledge of wild elephants and their exceptional crafting skills with Lantana, these artisans are bringing life to the elephant forms, while earning a dignified income. The elephants are designed by Shubhra Nayar and Tariq T of TREC, with Subhash Gautam overseeing the process. Continue reading
The history of our work in Kerala, and specifically in Kochi, has long been intertwined with Art, and how the surrounding community interacts with it. Biennales, by nature, often blur the line between street art and gallery space, as multi-dimensional and multi-media installations begin to appear on walls, pop-up spaces, cavernous warehouse buildings, and classic museum halls.
Now in it’s 4th edition, the Kochi-Muziris Biennale, has grown continually in both the breadth of the artists involved, and the depth of its work toward community outreach. This sense of inclusivity extends to gender equality, a longstanding issue that India as a country has battled with; the curator and more than half of the artists are female.
As with the previous editions, the installations are thought provoking and moving, at times asking viewers to acknowledge and honor the difficult history of a colonial past.
The Kochi-Muziris Biennale, South Asia’s biggest art show, uses interactive exhibits and live performances to help Indians connect with contemporary art.
KOCHI, India — Clad in a simple striped shirt and the white mundu of the city’s fishmongers, Bashir stood out from the well-heeled throng at the warehouse galleries and tree-filled courtyards on the first day of India’s biggest contemporary art show, the Kochi-Muziris Biennale.
Keeping to himself, he moved from room to room, stopping to study moody landscapes by the Delhi photographer Chandan Gomes that were paired with imaginary scenes drawn by a girl who died at age 12.
“I don’t understand the inner meaning of the art,” said Bashir, who uses one name and makes a living wrapping and delivering fish. “I just like to see beautiful things.”
Bashir’s willingness to engage with the artwork, no matter how challenging, was a victory for the show’s organizers. The southern state of Kerala, and India as a whole, have very few public venues to see art. So the organizers of the biennale, which runs until March 29, strove to create an event that would appeal to everyone — from untutored day laborers to veteran museum curators.
“We are making a cultural festival,” said Bose Krishnamachari, a painter from Kerala who co-founded the show eight years ago. “We have tried to penetrate to the people’s minds so that they feel that it is their biennale.”…