Botanical Patterns Spill from Shinji Ohmaki’s Existential Vessel

“Gravity and Grace” (2023), installation view at National Art Center. Photo by Keizo Kioku. All images courtesy of National Art Center

In “Gravity and Grace,” Japanese artist Shinji Ohmaki poses a broad, if not daunting, question: what does it mean to exist? The installation, which features an imposing vessel carved with flora and fauna, radiates from the center and casts shadows in varied sizes and opacities around the gallery. Bulbous near the base with a slimmer neck that reaches toward the ceiling, the work’s shape evokes the tower of a nuclear power plant and spills light in every direction.

This iteration of “Gravity and Grace,” which is part of a series ongoing since 2016, is included in Ohmaki’s exhibition Interface of Being on view now at Tokyo’s National Art Center. The solo show features works made in response to the devastating 2011 earthquake and tsunami that killed nearly 20,000 people and caused the Fukushima Daiichi Nuclear Power Plant to melt down and release radioactive water.

Reaching up to a whopping 840,000 lumens, “Gravity and Grace” harnesses the interplay of light and shadow to critique modern society’s dependence on energy, literally mapping illuminated patterns onto the viewers who pass by. The contrast also draws attention to nature’s cycles and the artist’s enduring interest in time and space, particularly the reminder that we all inhabit this planet for a relatively brief moment.

If you’re in Tokyo, you can see Interface of Being, which also includes a gossamer sculpture that undulates across the gallery like billowing fabric, through December 25. Otherwise, find more from Ohmaki on his site and Instagram.

 

Detail of “Gravity and Grace” (2023). Image courtesy of A4 Art Museum

“Gravity and Grace” (2023), installation view at National Art Center. Photo by Keizo Kioku

Detail of “Gravity and Grace” (2023)

“Liminal Air Space—Time Vacuum Fluctuations,” installation view National Art Center. Photo by Keizo Kioku

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The Getty Digitizes a Rare 16th-Century Manuscript from Indigenous Mexico

“Glue-hardening process,” Book 9, Folio 64v, Artist K. All images courtesy of The Getty

In 1577, Franciscan friar Bernardino de Sahagún finished a monumental encyclopedia of Mesoamerican culture. Working in collaboration with Nahua writers, artists, and elders, Sahagún documented life in the Aztec empire around the time of the Spanish conquest, together creating nearly 2,500 illustrations and 12 books recording the daily practices and culture of 16th-century Mexico. The text is widely regarded as one of the most important resources of Indigenous knowledge, especially considering most history is derived from colonial perspectives.

The Getty Research Institute recently released a digitized version of La Historia General de las Cosas de Nueva España, which is best known as the Florentine Codex—this name comes from the text’s mysterious storage in the Medici family libraries for centuries. Although the Library of Congres and UNESCO’s Memory of the World have offered scanned iterations of the books since 2012 and 2015, respectively, this edition is the most widely accessible because of its searchable interface and additional context.

Organized by topic, text, and images, the new platform contains both the original Nahuatl and Spanish writings alongside English translations. In a conversation with Hyperallergic, Kim Richter, a researcher leading the project, described the dual texts as complementary and offering unique perspectives on the same events. Although the manuscript was originally thought to lack “aesthetic value…Today, we see them as an important testament of a tumultuous period in Mexico in the early decades following the conquest of Mexico,” Richter says.

The books, which begin with gods and rituals and end with conquest, are available to view page-by-page, with special sections devoted to deities, animals, and other aspects of everyday life from tamales and cacao to coyotes and chapulin, or grasshoppers. Included are Nahua ritual calendars, depictions of midwives attempting to heal those suffering from a grim smallpox outbreak, and the omens and horrors that accompanied the Spanish invasion.

Since launching earlier this month, the Florentine Codex has already inspired a video game set amid the aftermath of the 1520 Toxcatl massacre. The Getty also plans to release additional resources in conjunction with the digital archive, which provides a necessary addendum to colonial history.

 

“Metztli icualoca: lunar eclipse,” Book 7, Folio 7r, Artist N

“Disguised merchants in Tzinacantlan,” Book 9, Folio 18v, Artist N

“Papalomichin and Ocelomichin,” Book 11, Folio 62v

“Xicalpapalotl,” Book 11, Folio 100r

“Macuilocelotl,” Book 9, Folio 58r

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One of the Most Colorful Composites of the Universe Highlights Galaxies 4.3 Billion Light-Years from Earth

Galaxy cluster MACS0416. Image courtesy of NASA, ESA, CSA, STScI, J. Diego (Instituto de Física de Cantabria, Spain), J. D’Silva (U. Western Australia), A. Koekemoer (STScI), J. Summers & R. Windhorst (ASU), and H. Yan (U. Missouri)

The groundbreaking James Webb Space Telescope and its predecessor the Hubble Space Telescope have collaborated on a new cosmic composite teeming with colorful galaxies. Using infrared observations from Webb and visible-light details from Hubble, astronomists stitched together an astonishing, panchromatic image of the MACS0416 cluster located approximately “4.3 billion light-years from Earth, meaning that the light from it that we see now left the cluster shortly after the formation of our solar system,” a release from the European Space Agency says. Our solar system is nearly 4.6 billion years old.

Both telescopes register wavelengths in black and white and in a manner that’s different from the way humans see light, so researchers assigned colors to galaxies to mimic our eyesight. “The bluest galaxies are relatively nearby and often show intense star formation, as best detected by Hubble, while the redder galaxies tend to be more distant, or else contain copious amounts of dust, as best detected by Webb,” the team says, noting that the image captures an exceptional range of wavelengths, from 0.4 to 5 microns. Intermediate galaxies are shown in green.

Because of gravitational lensing—this happens when an enormous celestial body, like the cluster shown, bends the path of light into a curved shape—this image of MACS0416 also magnifies light from additional galaxies even farther away, along with supernovae and individual stars. With its vivid, illuminating colors, the image is thought to be one of the most colorful depictions of the cosmos in existence. (via PetaPixel)

 

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Introspective Figures Navigate Surreal Worlds in Simón Prades’ Illustrations

Stories come to life on the page and introspective figures explore inner worlds in the dreamlike illustrations of Simón Prades (previously). His surreal scenes often feature silhouettes of people peering into the unknown, whether toward a distant memory, the wilderness, or the future. Rendered in deep hues with an emphasis on the effects of light and contrast, he draws attention to human nature and universal, emotional experiences of hope, nostalgia, and wonder.

Prades has worked as a freelance illustrator for more than ten years, finding visual language to express ideas in editorial and book publishing, film, music, and advertising. His clients have included The New York Times, Penguin Random House, Scientific American, and many more. “While I still love solving problems for clients, I must say that the urge to work on more personal projects has been growing and might manifest in a book or something like that soon,” he tells Colossal.

Prades is looking forward to a project next year that merges illustration with his other passion, cycling. During a 10-day tour through the Pyrenees, he plans to capture the experience in his sketchbook. Explore more of his work on his website and Behance, and follow updates on Instagram.

 

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Søren Solkær’s Enigmatic Photographs Capture Flocks of Starlings in Evening Skies

“Black Sun #36.” All images © Søren Solkær, shared with permission

Since 2017, Danish photographer Søren Solkær has traveled Europe in search of the mesmerizing phenomenon of starling murmurations. Occurring before dusk during spring and autumn, cool weather and an instinct for safety gathers thousands of the black songbirds into enormous, undulating clouds. Solkær captures these enigmatic evening shows in his ongoing series Black Sun (previously), and a survey of these works opens at the National Nordic Museum in Seattle, Washington, next month.

The term “murmuration” is derived from starlings’ fluttering wings and flight calls, providing a distinct soundtrack to meadows and marshlands. Solkær remembers being fascinated by the birds as a child growing up in southern Denmark, where he would watch the creatures swoop through the sky near his home. The title Black Sun is derived from the Danish phrase “sort sol,” describing the way the aerial masses obscure the sun.

Coinciding with the exhibition, Solkær has just released a new monograph in the series titled Starling, documenting their movements in Ireland, Italy, Denmark, and The Netherlands. Starling is available for purchase now on Solkær’s website, and Black Sun will open December 9 and continue through March 10, 2024, in Seattle. Follow the photographer’s Instagram for more updates.

 

“Black Sun #183, Aventoft, Denmark”

“Black Sun #145, Rome, Italy”

“Black Sun #230, Sardinia, Italy”

“Black Sun #237, Sardinia, Italy”

“Black Sun #75, Aiguamolls de l’Empordá, Catalonia, Spain”

“Black Sun #128, Houtwiel, Friesland, The Netherlands”

“Black Sun #149, Rome, Italy”

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Over 25 Years of a Pioneering Collective’s History Comes Together in ‘Trailblazing Women Printmakers’

Aino Clarke, “Jazz Age.” Photo by Peter Morse, courtesy of Peter and Bobbi Kovner. All images © the artists, courtesy of Princeton Architectural Press, shared with permission

Working together from about 1941 to 1969 in Gloucester, Massachusetts, and almost entirely comprised of women block printers, the artists of the Folly Cove Designers comprised one of America’s longest-running artist collectives. The pioneering group produced hundreds of unique designs, and a new book by Elena M. Sarni from Princeton Architectural Press titled Trailblazing Women Printmakers: Virginia Lee Burton Demetrios and the The Folly Cove Designers details the group’s prolific history and extensive works.

Led by acclaimed children’s book author Virginia Lee Burton Demetrios, the collective functioned similarly to a medieval craft guild. Artists would convene regularly for classes on design and technique and also hone their skills individually, either at home or in the studio. Afterwards, jurors assessed their designs, and upon approval, the works proceeded to the printing stage.

Cut from linoleum and block-printed onto mainly fabric, each design tells a story. Members were constantly urged to draw inspiration from their surroundings, whether depicting a musical performance, the local college campus, or kitchen utensils and ingredients. Each artist shared personal narratives and familiar scenes. According to the Cape Ann Museum, which houses the largest collection of work by the Folly Cove Designers, Demetrios encouraged artists to “draw ‘what they knew’ and to sketch their subjects over and over again until they made them their own.” Each intricate print documented daily life, giving voice to women’s stories.

Find your copy of Trailblazing Women Printmakers on Bookshop.

 

Eino Natti, “Polyphemus.” Photo by Gary Lowell, courtesy of Sandy Bay Historical Society

Louise Kenyon, “Head of the Cove.” Photo by Peter Morse, courtesy of Peter and Bobbi Kovner

Virginia Lee Burton Demetrios, “Robin Hood.” Hood. Photo by Gary Lowell, courtesy of Sandy Bay Historical Society

Aino Clarke, “Atomic Age.” Courtesy of Cape Ann Museum

Louise Kenyon, “Smith College.” Photo by Peter Morse, courtesy of Peter and Bobbi Kovner

Virginia Lee Burton Demetrios, “Finnish Hop.” Photo by Gary Lowell, courtesy of Sandy Bay Historical Society

Lee Natti, “Old Sturbridge Country Store.” Photo by Gary Lowell, courtesy of Kathryn Soucy

Group portrait of the Folly Cove Designers, courtesy of Cape Ann Museum

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The Iconic ‘Silver Swan’ Automaton Gets a Well-Deserved Fluff of the Feathers

In the 250 years since its fabrication in the studio of jeweler and entrepreneur James Cox, the Silver Swan automaton has beguiled viewers. The mechanical sculpture continues to live up to its original purpose, designed as a crowd-puller to the artist’s workshop in 18th-century London, which also served as a small museum. Today, it is an iconic resident of the The Bowes Museum at Barnard Castle in County Durham, U.K.

Cox modeled the life-size creature on a female swan, incorporating 2,000 moving parts, including 139 crystal rods and 113 neck rings. A slew of delicate pieces are encased in chased, repoussé silver, operated by three clockwork mechanisms that control a music box, a pool of glass with swimming silver fish, and the complex movements of the swan’s head and neck. At the 1867 Paris International Exhibition, its large scale and hefty price tag of 50,000 francs—today that would be well over $200,000—created a sensation. Five years later, the museum’s namesake, John Bowes, bought it in Paris for a tenth of that price and brought it home to the U.K.

In a video produced in 2021, a specialist team of conservators and curators painstakingly dismantled the sculpture to examine the condition of its mechanisms and create a plan for its preservation. This year, the swan is undergoing meticulous repairs and cleaning, and the museum anticipates that the work will be completed by the end of the year.

Cox also designed the well-known Peacock Clock for Catherine the Great, a treasure of the State Hermitage Museum’s collection in Russia. Learn more about the Silver Swan on The Bowes Museum’s website. (via The Kid Should See This)

 

All images © The Bowes Museum

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