In a Documentary Short, Amy Sherald and Kehinde Wiley Wield ‘Paint & Pitchfork’ in the Studio

In 2018, when their portraits of former President Barack Obama and First Lady Michelle Obama were unveiled at the National Gallery of Art in Washington, D.C., Kehinde Wiley and Amy Sherald were thrust into the spotlight. The portraits were formally installed in the White House in 2022, when filmmaker Christine Turner’s documentary short, “Paint & Pitchfork,” also debuted on The New Yorker.

Turner was approached by LACMA to profile the renowned American artists, giving them “the same reverence, dignity, and respect” that they afford their own sitters. In the short film, Sherald and Wiley discuss their first interactions with art and what compelled them to paint people.

Both artists have dedicated their practices to reframing Western European portraiture traditions that have historically excluded representations of Black people. For Sherald, this is a matter of portraying Black figures during pastimes and everyday scenes, expressing comfort, leisure, and joy (previously).

 

All images © The New Yorker

In the film, Sherald says, “A question that I’ve been asked often is, will you ever paint anybody other than Black people? And my answer is, no, I won’t. Because the image of whiteness has been perpetuated beautifully throughout history, so you don’t really need my help. Like I’m here to paint my own ideal and to represent that in the world. And if I can’t do that, then something is deeply wrong.”

For Wiley, painting involves examining the symbolism of power and prestige of Grand Manner portraiture (previously), positioning Black figures on horseback, wielding staffs, and standing in front of ornate decor. “Portraiture is about the resistance of death. But painting is also about the style of living that you want to live,” he says. In a later segment, he shares that his approach to painting is two things at the same time: “There’s the desire for acceptability. And then there’s the desire for revolution. I’m carrying both paint and pitchfork.”

Learn more about Christine Turner’s work on her website. And if you haven’t yet, check out our interview with Amy Sherald from earlier this year.

 

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Remarkably Realistic Marine Invertebrates Made of Glass Surface at the Mystic Seaport Museum

All photos by Joe Michael, courtesy of the Mystic Seaport Museum, shared with permission

From the mid-1800s to the 1930s, father-and-son artist duo Leopold and Rudolf Blaschka crafted thousands of glass models of flora and fauna (previously) in exquisite, scientific detail. Sea creatures were an area of particular fascination, as delicate spines, tentacles, and frills rendered in lifelike color extend from the bodies of squid and sea anemones. And at the Mystic Seaport Museum, a major exhibition of more than 40 of the remarkable specimens come to life in Spineless: A Glass Menagerie of Blaschka Marine Invertebrates.

Spineless dives into the history of the Blaschkas’ extraordinary contributions to scientific education, starting with the elder artist’s fascination with ocean life. Leopold was inspired to recreate specimens he saw in the wild and successfully completed a commission for a nearby natural history museum in the 1850s. He realized there was a demand for lifelike versions of creatures that scientists found challenging to preserve and document, and the glass variety required no special jars or chemical treatments to keep them looking as good as new.

Leopold found his audience in universities and museums around the world, establishing a mail-order business to ship the fragile pieces to institutions where they were used for teaching or put on display. Eventually joined by his son, the two “relied on their relationships with scientists, along with observations of live specimens held in aquariums, wet specimens, books, and scientific journals,” the Mystic Seaport Museum says in a statement.

The Blaschkas are also known for their fifty-year endeavor to make 4,300 models that represent 780 plant species, comprising the Ware Collection of Blaschka Glass Models of Plants, which you can visit at Harvard Museum. Spineless continues in Mystic, Connecticut, through September 2024. Plan your visit and discover more on the museum’s website.

 

 

 

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RISD Pre-Collegiate Programs Are Now Enrolling for Summer 2024

Artwork by RISD Pre-College student James A.

Rhode Island School of Design has opened registration for its residential summer Pre-College program and year-round online intensive Advanced Program Online.

At Rhode Island School of Design (RISD) Pre-College, rising high school juniors and seniors can experience life as a RISD undergrad and work alongside hundreds of other creative, highly motivated students who will inspire them to push their limits and produce their best work. Students will follow a college-level curriculum inspired by the RISD first-year experience with day-long studio classes, visits to the Nature Lab and RISD Museum, critiques, and projects that will forever shape how they approach art and design. Outside of the studio, students can participate in trips and events throughout Providence and beyond. Summer 2024 runs from June 29 through August 3.

To apply for the RISD Pre-College residential summer immersive, visit precollege.risd.edu/program-overview.

RISD’s Advanced Program Online is a year-round online intensive designed for high school students interested in pursuing art and design in college who want to learn best practices in developing their work. This series of college-level courses for students in grades 10 to 12 calls on creative young people to access a more ‘flexible mindset’—applying art and design methods to chart new territories of creation and problem-solving. The Spring 2024 term runs from March 2 to May 12, and the Summer 2024 term runs from June 22 through August 18.

To register for RISD’s Advanced Program Online year-round intensive, visit precollege.risd.edu/advanced-program.

Whether on-campus or online, students will participate in courses led by reputable teaching artists, learn to manage time and self-motivate, and develop concepts, sketches, and finished pieces that can be included in or inform their college applications. Both programs are designed to not only help students build portfolios but also develop as artists and individuals.

Learn more and compare programs at precollege.risd.edu/compare-programs.

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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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