Photos: “The Little Mermaid” Sand Sculpture Swims Into Disney Springs

Photos: “The Little Mermaid” Sand Sculpture Swims Into Disney Springs
A new sand sculpture inspired by The Little Mermaid and sponsored by Pandora has popped up at Disney Springs. This sand sculpture can be found in the covered section of Disney Springs’ Town Center. Featured on the sculpture are Ariel as played by Halle Bailey, Flounder, Melissa McCarthy’s Ursula, and Flotsam and Jetsam. Each corner of […]

Composite Images From NASA’s Most Powerful Telescopes Reveal Mind-Boggling Details of the Cosmos

Composite Images From NASA’s Most Powerful Telescopes Reveal Mind-Boggling Details of the Cosmos

X-ray: Chandra: NASA/CXC/SAO, XMM: ESA/XMM-Newton; IR: JWST: NASA/ESA/CSA/STScI, Spitzer: NASA/JPL/CalTech; Optical: Hubble: NASA/ESA/STScI, ESO; Image Processing: L. Frattare, J. Major, N. Wolk, and K. Arcand

Combining data from some of NASA’s most powerful instruments, four new composites highlight the enormity of the cosmos in unprecedented detail. Imagery from the Chandra Observatory and the James Webb and Hubble telescopes—plus infrared information from the Spitzer telescope’s final missions—mesh together to generate mesmerizing views of iconic nebulae and galaxies.

Messier 74, a spiral galaxy more than 30 million light-years from Earth, is sometimes called the Phantom Galaxy due to its relative dimness (despite hosting around 100 billion stars!). Webb captured its swirling network in infrared, spotlighting gas and dust, while Chandra provided X-ray data of high-energy stars. Returning a little closer to home, for the Pillars of Creation in Messier 16, a.k.a. the Eagle Nebula—about 7,000 light-years away—Webb contributed the dusty forms that shroud fledgling stars and Chandra included the glowing blue and red dots.

Explore in-depth analysis of the images, plus the individual sources, on the Chandra Observatory’s website, which also include a star cluster called NGC 34 and the “barred spiral” galaxy NGC 1672. (via PetaPixel)

 

A composite image of a galaxy.

M74 346 Composite. X-ray: Chandra: NASA/CXC/SAO, XMM: ESA/XMM-Newton; IR: JWST: NASA/ESA/CSA/STScI, Spitzer: NASA/JPL/CalTech; Optical: Hubble: NASA/ESA/STScI, ESO; Image Processing: L. Frattare, J. Major, N. Wolk, and K. Arcand

A composite image of a galaxy.

NGC 346 Composite. X-ray: Chandra: NASA/CXC/SAO, XMM: ESA/XMM-Newton; IR: JWST: NASA/ESA/CSA/STScI, Spitzer: NASA/JPL/CalTech; Optical: Hubble: NASA/ESA/STScI, ESO; Image Processing: L. Frattare, J. Major, N. Wolk, and K. Arcand

A composite image of a galaxy.

M74 Composite. X-ray: Chandra: NASA/CXC/SAO, XMM: ESA/XMM-Newton; IR: JWST: NASA/ESA/CSA/STScI, Spitzer: NASA/JPL/CalTech; Optical: Hubble: NASA/ESA/STScI, ESO; Image Processing: L. Frattare, J. Major, N. Wolk, and K. Arcand

A composite image of a nebula.

M16 (Eagle Nebula) Composite. X-ray: Chandra: NASA/CXC/SAO, XMM: ESA/XMM-Newton; IR: JWST: NASA/ESA/CSA/STScI, Spitzer: NASA/JPL/CalTech; Optical: Hubble: NASA/ESA/STScI, ESO; Image Processing: L. Frattare, J. Major, N. Wolk, and K. Arcand

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Hot Lots: 5 Works That Shattered Expectations During New York’s 2023 Spring Sales

Hot Lots: 5 Works That Shattered Expectations During New York’s 2023 Spring Sales

While the mood this auction season was mixed, and overall sales volume tepid at best, there were nonetheless standouts throughout the auction calendar. Amid last-minute withdrawals and passed lots were works that defied assumptions—and an otherwise dreary market climate—particularly for market professionals ready to look outside of the primetime events.

We combed through hundreds of offerings from this season’s day sales at Christie’s, Sotheby’s, and Phillips in New York to bring you a range of hot lots.

Lynne Drexler (1928-1999)

Summer Blossom (1962)

Lynne Drexler, Summer Blossom (1962). Courtesy of Christie's Images, Ltd.

Lynne Drexler, Summer Blossom (1962). Courtesy of Christie’s Images, Ltd.

Auction: Christie’s, A Century of Art: The Gerald Fineberg Collection Part II

Estimate: $150,000 to $200,000

Sold for: $1.4 million

One of the last works acquired by Gerald Fineberg, who died in December 2022, this small canvas has a sumptuous palette and tight composition of cascading brushstrokes. The final price represented the second-highest result ever for the reclusive painter, whose oeuvre is being reexamined and whose market has been surging since the pandemic began.

Summer Blossom was the most expensive of the 14 lots by Drexler on the block in New York this month. Two years ago, the painting was included in Explosions of Color | Dimensions of Sound: The Art of Lynne Mapp Drexler at Jody Klotz Fine Art in Abilene, Texas. Printed on the cover of the show’s catalog, it had an asking price of just under $150,000, according to Klotz, who played an important role in Drexler’s recent market resurgence. She paid $75,000 for the artist’s Daffodil Gloucester in May 2021, the highest price for a Drexler piece at auction (it was estimated at $8,000 to $12,000).

Reluctant to sell the best works in her show, Klotz “decided to put prices that were unprecedented,” she said. “I had to scrape and search to make this show.” But she did end up selling the painting to an Italian collector, through a New York art adviser. Fineberg bought it about a year later; the painting was installed in his bathroom to brighten up his final days.

– Katya Kazakina

Fairfield Porter (1907 – 1975)

Girl in a Landscape (1965)

Fairfield Porter, Girl in a Landscape

Fairfield Porter, Girl in a Landscape (1965). Courtesy of Sotheby’s.

Auction: Sotheby’s Contemporary Day Auction, May 19, New York

Estimate: $500,000 to $700,000

Sold for: $2.8 million

The sale of Fairfield Porter’s 1965 painting Girl in a Landscape set a new auction record for the American artist, nearly $1 million higher than the previous high-water mark, set in 2018, according to Artnet Price Database. The work was on the auction block for the first time since it was acquired by the previous owner in 1980. Sotheby’s declined to reveal who the consignor was, merely saying that it was a private corporate collection, but an archival catalog entry found in the Smithsonian Portrait Gallery indicates that the owner was United Missouri Bank of Kansas City.

The market for Porter’s art appears to be steady over the years, with regular sales of his paintings, drawings, and lithographs. But Girl in a Landscape, which depicts the artist’s eldest daughter Katie, outperformed the presale expectations with a price of $2.8 million (including fees), achieving a price four times the high estimate (premium-free).

Charlotte Mitchell, a specialist in Sotheby’s American art department, said the market’s enthusiasm was a response to the quality of the work, which combines “two of Fairfield Porter’s most celebrated motifs—depictions of the Maine landscape and portraits of his family.” Another landscape oil on panel work by Porter, Great Spruce Head, was offered at the same sale. It sold for $279,400, more than double the high estimate excluding fees.

– Vivienne Chow

Jenna Gribbon (b. 1978)

Set List Focus (2020)

Jenna Gribbon, Set List Focus (2020). Image courtesy Christie's.

Jenna Gribbon, Set List Focus (2020). Image courtesy Christie’s.

Auction: Christie’s Postwar & Contemporary Art Day Sale

Estimate: $40,000  to $60,000

Sold for: $403,200

As an admitted fan of Jenna Gribbon, I’ve enjoyed seeing her signature dreamy portraits, which curator and broadcaster Katy Hessel described as “almost electrically-coloured canvases,” everywhere from the Armory Show last fall, to the Frick Madison (as part of the program pairing contemporary works with the collection’s famous Old Masters), and recently as part of the buzzed about “Rear View” show at LGDR’s new Upper East Side mansion gallery space. Gribbon’s work in that show is actually included in a “pendant” presentation in a single room, titled “Full Frontal” that features more explicit works.

So perhaps it’s not entirely surprising that Set List Focus (2020), soared so far above estimate and set a new auction record. It depicts a female musician sitting on the floor of a stage amid a tangle of black wires, set against a day glo pink canvas. She appears focused on a presumably imminent musical performance. The second highest price of $123,400, a third of the current high, was achieved at Christie’s last fall. To date a total of 23 works by Gribbon have come to the auction block.

The painting “vibrated with energy…[and] has everything going for it,” said Kathryn Widing, co-head of the Post-War and contemporary day sale. “Gribbon’s unabashedly daring brushwork, a scene simultaneously familiar and otherworldly, and the pink neon hue of the paint, created a halo around the canvas. It was a painting that I kept coming back to enjoy during our preview.”

—Eileen Kinsella

Jaune Quick-to-See-Smith (b. 1940)

Playground (1987)

imagePlayground (1987). Courtesy of Sotheby’s.” width=”864″ height=”1024″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/05/Jaune-Quick-to-See-Smith-Playground-864×1024.jpg 864w, https://news.artnet.com/app/news-upload/2023/05/Jaune-Quick-to-See-Smith-Playground-253×300.jpg 253w, https://news.artnet.com/app/news-upload/2023/05/Jaune-Quick-to-See-Smith-Playground-1296×1536.jpg 1296w, https://news.artnet.com/app/news-upload/2023/05/Jaune-Quick-to-See-Smith-Playground-1728×2048.jpg 1728w, https://news.artnet.com/app/news-upload/2023/05/Jaune-Quick-to-See-Smith-Playground-42×50.jpg 42w, https://news.artnet.com/app/news-upload/2023/05/Jaune-Quick-to-See-Smith-Playground-1620×1920.jpg 1620w” sizes=”(max-width: 864px) 100vw, 864px”>

Jaune Quick-to-See Smith, Playground (1987). Courtesy of Sotheby’s.

Auction: Sotheby’s Contemporary Day Auction

Estimate: $100,000–$150,000

Sold for: $546,100

If you suspect that this propulsive result stems from April 2023, when Jaune Quick-to-See-Smith opened the first ever retrospective by a Native American artist at the Whitney Museum of American Art, your hunch is both correct and only one part of the story. Playground is, in fact, the tenth work by the artist to more than triple its high estimate (including fees) at auction since November 1, 2022, according to the Artnet Price Database. It’s also the seventh lot in that same span to sell for a premium-inclusive price of at least $337,500. Not bad for an artist whose auction apex was a mere $8,125 until December 2020.

The excitement around Quick-to-See-Smith’s practice undoubtedly has roots in her Whitney show, but that’s just one manifestation of the art establishment’s larger, late-breaking interest in contemporary artists hailing from Native American, First Nations, and Indigenous communities since roughly 2016. The succeeding years have seen Kwakwaka’wakw Northwest Coast artist Beau Dick’s work curated into Documenta 14 in 2017; Tlingit/Unangax̂ artist Nicholas Galanin featured in the 2019 Whitney Biennial; the Met commissioning murals by Canadian Cree artist Kent Monkman for the walls of its Great Hall that same year; and a selection of these and other Native American and First Nations artists appear in a variety of major art fairs over the past six-plus years, to name just a few examples.

It would be reductive (to say the least) to portray Quick-to-See-Smith’s recent success as strictly part of a macro-level trend. She has shown commercially with New York’s well-respected Garth Greenan Gallery since 2018, cultivated meaningful curatorial relationships for years, and developed a distinctive visual vocabulary with a combination of figuration and abstraction that fits the aesthetics of the moment. Sometimes personal vision, institutional recognition, and a broad shift in taste all coalesce.

—Tim Schneider

Maurice Sievan (b. 1898)

Zoogarluk (1960)

Maurice Sievan, Zoogarluk (1960). Courtesy of Phillips.

Auction: Phillips’s 20th Century and Contemporary Art Day Sale

Estimate: $15,000–$20,000

Sold for: $279,400

Typically, hot lots are associated with young, of-the-moment artists whose market is just beginning to pick up. But that’s not always the case, as proven by the runaway success of Maurice Sievan’s Zoogarluk (1960), which astounded at Phillips’s 20th Century and contemporary day sale when it netted $279,000, about thirteen times its high estimate of $20,000.

Sievan was a Russian painter who died in 1981 at the age of 82. His success came in the 1940’s, when he painted landscapes of the American suburbs, earning him the nickname “artist laureate of suburbia.” While his name isn’t often heard anymore, his work is in the permanent collections of the Queens Museum, the Brooklyn Museum, and the Hirshhorn.

What’s interesting about this piece’s success is that it’s a later, more abstract work, while Sievan’s practice is typically associated with a moodier, interpretive canvas. This was the artist’s auction debut. Other paintings of his are estimated to sell for just a few hundred dollars, according to the auction website Invaluable. To add to the mystery, Zoogarluk has no provenance, and was bought straight from the artist’s studio.

—Annie Armstrong

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Public Sculpture Exhibit opens

Public Sculpture Exhibit opens
The 2023/24 Penticton Public Sculpture Exhibit, featuring eight sculptures along the Okanagan Lake waterfront, City Hall and at the Front Street roundabout officially opened Saturday. Sharing a moment at the

Innovative photography exhibit opens this weekend at Mount Horeb’s Driftless Historium

Innovative photography exhibit opens this weekend at Mount Horeb’s Driftless Historium

For the last 150 years, a valuable set of stereoscopic photos in the Mount Horeb Area Historical Society’s collection could only be viewed as they’d originally been intended — tiny, and through a handheld contraption known as a stereoviewer. Now those original photos have been blown up and converted into large-scale, modern 3D images called anaglyphs that can be viewed through classic red-and-blue 3D glasses, resulting in a special exhibition unlike any other in Wisconsin.

“Sometimes historical photos can feel flat, and it can be hard to connect with those images from the past,” says Driftless Historium director Destinee Udelhoven. “This special exhibit really brings these early photographs to life and makes it easier to feel like they’re real people, when you see them in three dimensions. You can see local history in a different way that really feels like stepping back in time.”



3D glasses.jpg

A church picnic comes life when viewed through 3D glasses.






side by side.jpg

Most of the exhibits feature outdoor shots of familiar landscape in the Mount Horeb area.






viewmaster.jpeg

View-Masters were widely circulated as educational tools, allowing people to feel like they were traveling to global landmarks without leaving home.






stereoscope.jpeg

An early stereoscopic viewer is on display in the exhibition. 






Jacobson parlor

The Jacobson family parlor in 1876, located in the Town of Perry and photographed by A.L. Dahl. The exhibit notes that “even relatively recent immigrants went to great lengths to create the idealized American parlor.”






Four commercial 3D images.jpeg

Some stereoscopic photos were produced with commercial quality for mass quantity reselling.




The internet just can’t figure out this latest photography optical illusion

The internet just can’t figure out this latest photography optical illusion

This is a real picture taken by photographer Keinichi Ohno. It’s a single photo of a bird standing at the edge of some water with a wall and its reflection creating a fascinating optical illusion. from r/interestingasfuck

A Japanese photographer has caused some confusion with his recent image that the internet can’t figure out. It depicts an Egret bird wallowing in shallow water, but the incredible composition of the image has left a few photographers scratching heads. 

Kenichi Ohno submitted his amazing image of the Egret to a photographic nature competition, and aside from receiving an honorable mention, the photo accidentally went viral as an unintended optical illusion involving a color split down the middle. 

• These are the best lenses for photographing birds

As photographers, we should be pretty good at spotting obscure optical illusions and understanding how an image can be affected by factors such as light, color tones, and exposure levels. But this image from photographer Kenichi Ohno has left even photo competition judges stumped, experts who are supposedly adept at spotting image composition errors and any editing inconsistencies. 

The Nature in Japan photo contest in which Kenichi entered his image, titled Gap, saw some other amazing photos submitted by members of The All-Japan Association of Photographic Societies (AJAPS), but none as mesmerizing as the accidental optical illusion featuring Kenichi’s bird in the water.

The image features a perfect split down the center, with the left side showing the natural blue shades of the marsh water, whereas the right side appears to be a totally different muddy brown color with the white Egret dead center in the frame. 

None of the best editing software was used to create this effect, so how was it done? Plenty accused Kenichi of having photoshopped the image or even using AI to create it. But what the image actually shows on the right side of the split is a wall, followed by the waterline underneath it, causing the brown reflection of this wall to appear in the water, changing the color to a muddy brown.

To shed some light on how the image was composed, and to help viewers understand what they’re really looking at, the AJAPS has shared an image on its Facebook page (above) that offers some clarity in a zoomed-out perspective of the exact location whereby Kenichi’s image was captured. 

It’s amazing how our brains work. Do you remember that photo of a blue/gold dress that divided the internet back in 2015? Well, Kenichi’s Egret image requires some real perception-altering to figure out what’s going on, but once you understand the image and how it was created, the eureka moment occurs and it all makes sense. 


You might also be interested in the best free photo editing software, plus the best bird box and best bird feeder cameras to use in your garden, and not forgetting the best portable hides and camouflage gear for wildlife photography.

Take a look at these 6 ways to improve your composition, as well as how to photograph an optical illusion using a magic mirror, and understand how forced perspective can be used to create optical illusions that bring your toy photography to life

Brands Embracing Pride Month Confront a Volatile Political Climate

Brands Embracing Pride Month Confront a Volatile Political Climate
image

Target became the latest company to adjust plans for marketing supportive of the L.G.B.T.Q. community after it faced backlash from some customers.

For years, Pride Month, the annual celebration for L.G.B.T.Q. Americans, has afforded companies a marketing opportunity to tap into the buying power of a group with growing financial, political and social clout.

Yet, while these efforts have always faced some opposition, brands and marketers say the country’s current political environment — especially around transgender issues — has made this year’s campaigns more complicated. This week Target became the latest company to rethink its approach after facing criticism for its Pride collection, which included clothes and books for children that drew outrage from some on the right.

The retailer moved its Pride displays — including rainbow-striped collared shirts, yellow hoodies reading “Not a Phase” and baby clothing and accessories — from the entrances of some Target stores around the country and placed them in the back.

Target said it was concerned “about threats impacting our team members’ sense of safety and well-being while at work” after some customers had screamed at employees and thrown the Pride-themed merchandise on the floor.

Among the items angering some customers was a one-piece, tuck-friendly swimsuit — a bathing suit that has extra material for the crotch area for individuals who want to conceal their genitalia. Some critics erroneously claimed that the swimsuit was being sold to children; Target said it was available only in adult sizes. The collection also includes children’s books about transgender issues and gender fluidity.

One woman recorded a TikTok video in a Target store on Monday in which she became angry at seeing a greeting card that read “So Glad You Came Out” and a yellow onesie that said “¡Bien Proud!”

“If that doesn’t give you a reason to boycott Target, I don’t know what does,” she said.

In a statement, a company spokeswoman said, “Given these volatile circumstances, we are making adjustments to our plans, including removing items that have been at the center of the most significant confrontational behavior.” She added that the company, which has been selling Pride Month merchandise for a decade, remained committed to the L.G.B.T.Q. community “and standing with them as we celebrate Pride Month and throughout the year.”

While Target said its decision had been made in the interest of employee safety, many said its actions — along with a conservative backlash against Bud Light after it worked with a transgender influencer — might alienate the community it was seeking to support. And those who criticized Target and Bud Light in the first place may now feel further emboldened to attack inclusive initiatives by other companies.

“We’re in a new space here with safety and employee safety being threatened by policy and purpose,” said Vanitha Swaminathan, professor of marketing at the University of Pittsburgh. “I can’t say that you can disregard employee safety. That’s very core to what a company has to do. At the same time, Target can still, from a policy standpoint, be supportive of their initial stance. It’s sad to see that we’ve reached this point in our culture wars.”

Marketing campaigns around Pride Month in June have become routine for many companies, with opposition cropping up at times. Last year, for instance, Pizza Hut faced calls for a boycott after it recommended “Big Wig,” a book featuring drag performers, as part of its children’s summer reading program.

Yet companies and marketers say the political climate makes this year different — primarily because a number of Republican-led states have introduced and passed legislation restricting transition care for transgender minors and adults, and transgender rights has become a galvanizing issue for many conservatives.

GLAAD, the L.G.B.T.Q. advocacy group that works with more than 160 companies, is considering having communications professionals in its GLAAD Media Institute work with brands that are planning Pride Month celebrations so they can better respond to criticism.

“We do feel like we’re at a moment where, with the politicization of trans and gender-nonconforming folks, that we probably need to assemble a Pride war room for brands so that we can push back,” Sarah Kate Ellis, the group’s chief executive, said in an interview.

On Thursday, GLAAD and six other advocacy groups called on Target to return to its stores and its website any Pride merchandise it had removed and to release a statement “in the next 24 hours reaffirming their commitment” to the L.G.B.T.Q. community.

When faced with criticism and social media calls for boycotts in the past, most companies learned that the declarations of outrage soon faded away.

Then Bud Light happened. Owned by the beer giant Anheuser-Busch, Bud Light continues to struggle with the fallout from a social media campaign in mid-March with the transgender influencer Dylan Mulvaney. After calls for a boycott of the beer, sales in the four weeks ending in mid-May dropped more than 23 percent from a year earlier, according to data from the research firm NIQ and Bump Williams Consulting, which works with the alcoholic beverage industry.

In some markets in the South, such as Jacksonville, Fla., and New Orleans, Bud Light’s sales were down 40 percent in those four weeks.

Anheuser-Busch, which in recent years has released rainbow-hued bottles and cans of Bud Light for Pride Month, did not respond to a question about its plans for this year.

Some marketing and communications consultants said the negative reaction to Bud Light’s campaign with Ms. Mulvaney was a product of the beer’s generally more politically conservative customer base. Companies like Nike or Starbucks can more easily create products or campaigns around gay and transgender issues or Pride Month because their consumers tend to be younger and more progressive, said David Johnson, the chief executive of Strategic Vision PR Group in Atlanta.

“When they embrace the gay or transgender community, it’s not out of line with their core beliefs,” he said.

A number of companies are moving forward with their Pride Month plans. In June, the Coors Light Denver Pride Parade will weave its way through the city. Advertisements for a one-piece Adidas swimsuit created by the South African queer designer Rich Mnisi feature a transgender man as the model. Levi’s has a campaign showing a half-dozen gay and transgender people talking about how they show up while wearing the company’s denim and tops.

But a number of other companies are being much less forthcoming about specific Pride Month plans. And some L.G.B.T.Q. advocates criticized Target for seeming to cave to pressure. (The company’s decision did come as employees in the retail industry have faced increasingly aggressive behavior from customers since the start of the pandemic.)

Target also removed a Pride line from Abprallen, an L.G.B.T.Q. fashion and accessories company based in London, some of whose designs have been criticized for depicting satanic symbols like pentagrams and a shirt that reads “Satan respects pronouns.” Abprallen did not respond to a request for comment.

“We’ll find out in the next week which companies are continuing to make a push and do Pride Month campaigns,” said Matt Skallerud, the president of Pink Media, which specializes in L.G.B.T.Q. online marketing. “If companies we know have been supportive of Pride Month don’t show up this year, their absence will be noticed, and I’d be concerned that could harm them.”

Advocacy groups are wary that all of this could create a chilling effect, especially when it comes to attaining a broader representation of L.G.B.T.Q. people in advertising.

“White gay men are the one segment that are most likely represented on our screens, whether it’s programing or ads,” said Lisette Arsuaga, co-founder of the Alliance for Inclusive and Multicultural Marketing. “We now started moving forward with a greater representation of all of the letters within the L.G.B.T.Q.”

The overall consumer sentiment for seeing trans representation on TV and in advertising hasn’t changed, according to recent GLAAD research. In a survey that was conducted in February, GLAAD said, 75 percent of people who did not identify as L.G.B.T.Q. were comfortable seeing those people represented in marketing campaigns. That figure held steady from 2020.

“You can absolutely roll out an ad campaign and include L.G.B.T.Q. folks in it,” Ms. Ellis of GLAAD said. “And at the same time, there is this political right-wing arm that you have to be aware of when you’re doing it and just be prepared for.”

Chris Wolston Explores Terracotta in Flower Power Collection

Chris Wolston Explores Terracotta in Flower Power Collection