Winners of 2023 BigPicture Natural World Photography Contest

Winners of 2023 BigPicture Natural World Photography Contest
Veterinarian snuggling a baby bare-nosed wombat

“Nose to Nose” by Douglas Gimesy
Human/Nature Winner
“Since 2006, developers have constructed dozens of new subdivisions on the outskirts of Melbourne, Australia, transforming bushland that once sheltered kangaroos, wombats, flying foxes, and other wildlife into tidy suburban streets. As the built environment encroaches on the wild, a growing number of displaced animals are struck by cars. Those that survive might, if lucky, find themselves in the care of a wildlife rehabilitation shelter like the Joey and Bat Sanctuary near Melbourne.
Photographer Douglas Gimesy was documenting work at the sanctuary last year when he met a bare-nosed wombat (Vombatus ursinus) whose mother had been killed by a car. A good samaritan had thought to check the dead marsupial’s pouch and found the four-month-old joey inside, still alive.
Gimesy watched a young veterinary student bottle-feed the orphaned wombat. When the feeding was over, the student touched her nose to the joey’s in a tender moment of interspecies bonding. Wombats’ sense of smell rivals that of bloodhounds, and scientists believe that the animals use their sophisticated noses to navigate at night and sniff out the poop of other wombats. Perhaps because her nose is so sensitive, Gimesy said that the baby wombat in this photograph seemed to especially enjoy the sensation of skin-to-skin—or nose-to-nose—contact.”

Some of the world’s top nature conservation photographers came together to judge the California Academy of Sciences’ renowned BigPicture Photography Competition. Cristina Mittermeier, Suzi Eszterhas, and Ami Vitale are just some of the big names that weighed in on the final decision. The winning photographs are both a testament to our world’s biodiversity, as well as the unique challenges it is currently facing.

Corey Arnold, who was named the Grand Prize winner, has a unique perspective on nature. As both a commercial fisherman and a photographer, he often explores the complex relationship between man and nature. Whether showing a lone coyote scurrying over a pedestrian bridge in Chicago or an American black bear hanging out on someone’s back porch, Arnold’s winning photo story is an interesting peek at how humans and animals co-exist.

Many of the other winning photos celebrated the touching relationships that can develop between humans and animals. Douglas Gimesy showed a moment of tenderness between a veterinary student in Australia and an orphaned baby wombat. This special glimpse at bonding is a touching tribute to the work that wildlife rehabilitation centers do.

Halfway around the world in the Democratic Republic of Congo, another caretaker is making sure that her charges are getting all the love they deserve. In Marcus Westberg‘s winning photo, orphaned chimps cling to their primary caregiver just as a baby would. This intense bond makes sense when one realizes that chimpanzees typically stay close to their mothers until they reach 5 years old. When mother chimps are killed by poachers, workers at the Lwiro Primate Sanctuary in Kahuzi-Biega National Park step in to make sure to fill the void.

“To view humans as entirely separate from other species… is both morally and factually wrong,” shares Westberg. “We are more similar than we realize.”

To dive even further into the natural world, scroll down to see a selection of the winning photographs. Hopefully, they provide inspiration and action to help preserve the sanctity of nature.

These images originally appeared on bioGraphic, an online magazine about nature and regeneration and the official media sponsor for the California Academy of Sciences’ BigPicture Natural World Photography Competition.

The winners of the BigPicture Natural World Photography Competition embrace our world’s biodiversity.

Coyote Bridge in ChicagoCoyote Bridge in Chicago

“Coyote Crossing” by Corey Arnold
Grand Prize Winner
“How did the coyote cross the road? If the coyote (Canis latrans) is among the 4,000 or so living in the Chicago metro area, the answer may be that it used a bridge to avoid being hit by a car. Across the United States, motor vehicle collisions are responsible for at least a million vertebrate deaths per day, and Chicago is no exception: Windy City coyotes typically live only about three years, compared to 10 years on average elsewhere in the wild and up to 18 years in captivity. Their most common cause of death is being struck by a car.
But like many wild animals living in densely populated urban environments— including those featured in Corey Arnold’s Grand Prize-winning photo story—coyotes have found ingenious ways to coexist with humans. In Chicago, where Arnold tagged along with scientists from the Cook County Urban Coyote Research Project, coyotes regularly use train trestles like this one to circumvent busy highways. They also shift their normal behavioral patterns to hunt mostly at night, when they’re less likely to encounter humans, and they seem to avoid trash in favor of Chicago’s live deer, rabbits, and rodents. Radio-tracking data from the Research Project’s studies has shown that even in America’s third-largest metropolitan area, coyotes and humans overlap on a daily basis—a testament to these canids’ remarkable tenacity, even after centuries of persecution across the United States.”

Nubian ibexes on a cliffNubian ibexes on a cliff

“Life on the Edge” by Amit Eshel
Terrestrial Wildlife Finalist
“Nubian ibexes (Capra nubiana) live on the knife edge of survival, in deserts with scant vegetation and harsh climates. They also live at the literal edge of cliffs, with little but space and steep drops for company. Such vertiginous topography helps deter predators like leopards and wolves; in Israel’s Avdat Nature Park, scientists have watched Nubian ibexes leave their newborns on cliff outcroppings too precipitous for most mammals to reach, then return for feedings until the young grew agile enough to traverse the sheer cliffs on their own.
Males of the species grow backward-curving horns that can be more than a meter (up to 4 feet) long. They use these impressive weapons to defend against predators and to compete with others for breeding rights, as photographer Amit Eshel captured in this image of two clashing males in Israel’s Zin Desert. Despite the violence of such encounters and the precarious stage on which they’re fought, male ibexes rarely to tumble to their death; the wild goats’ agility, speed, and comfort with the abyss seem to protect them even in the heat of battle.
Yet while the Nubian ibex’s ability to navigate steep terrain may protect it against natural predators and rival males, it’s proven little solace against the encroachment of humans. Ancient cave drawings and bone remnants suggest Nubian ibexes once ranged throughout the mountains of northeastern Africa and the Middle East. Today, only 5,000 or so cling to life in fragmented populations scattered across Egypt, the Sinai Peninsula, and the Arabian Peninsula. The healthiest populations are in Israel— though part of the reason for their success is that the Arabian leopards (Panthera pardus nimr) that once preyed on ibexes have been largely extirpated from the country.”

Blackwater Photo of a Blanket OctopusBlackwater Photo of a Blanket Octopus

“Stunning Cephalopod” by Heng Cai
Aquatic Life Finalist
“In addition to being visually mesmerizing, the iridescent symmetry of this blanket octopus plays a key role in the cephalopod’s success as a predator. Four species of blanket octopuses (genus Tremoctopus) roam tropical and subtropical seas—including the Gulf of Mexico, the Indian Ocean, the Great Barrier Reef, and the Mediterranean—searching for fish and crustaceans to eat.
Most observations of blanket octopuses come from females, like this one photographed in the Philippines. Females can grow up to 3 meters (6 feet) long—more than 40,000 times larger than the walnut-sized males—and sport a characteristic fleshy “blanket” draped over their tentacles, which makes them appear even larger. If threatened, a female can shed her blanket in an instant to distract her predator and escape, then grow a new one. She’ll also squirt ink, change color, and generally outsmart and out-maneuver fellow ocean dwellers until she can mate and lay thousands of eggs.
What really sets these cephalopods apart, however, is a unique hunting method: Because blanket octopuses are immune to jellyfish toxins, they commonly tear an arm off a jellyfish or even a Portuguese man o’ war (Physalia physalis), then carry around the severed appendage to use as a weapon for stunning prey.”

Detailed view of the gills of a milk cap mushroomDetailed view of the gills of a milk cap mushroom

“Magical Mushroom” by J Fritz Rumpf
Art of Nature Winner
“Is it waves crashing onto shore? A landscape of furrowed canyons? The topography of a distant planet? People seeing J Fritz Rumpf’s photograph for the first time have transposed all kinds of fantasies onto its hypnotic patterns, but no one, Rumpf says, has correctly guessed what they’re looking at: the gills of a fungi from the genus Lactarius, better known as milk cap mushrooms for the milky, latex-like liquid they ooze when cut.
Rumpf was foraging for mushrooms in Arizona’s White Mountains one August afternoon when he picked up this one. Unsure if it was edible, he returned it the forest floor—and happened to notice the colors of its gills. Of the dozens of species of milk caps that grow in the American Southwest, many “bruise” when chemicals in their fruiting bodies are exposed to air, turning them the murky blue-green that caught Rumpf’s eye.
Milk caps work their magic in other ways as well. In the subterranean world below forests, their fungal filaments—called mycorrhizae—form a net of cells that grows with and around tree roots. Milk cap mycorrhizae help their host trees access water and nutrients, and they obtain carbohydrates in return. As scientists learn more about this symbiotic relationship, they’re uncovering the multitude of ways that milk caps and other fungi are essential to the health of forests and other ecosystems around the world.”

Orphaned chimp hugging caregiver at the Lwiro Primate Sanctuary in Kahuzi-Biega National Park in the Democratic Republic of the CongoOrphaned chimp hugging caregiver at the Lwiro Primate Sanctuary in Kahuzi-Biega National Park in the Democratic Republic of the Congo

“All My Children” by Marcus Westberg
Human/Nature Finalist
“Chimpanzees (Pan troglodytes) share nearly 99 percent of their DNA with human beings. At the Lwiro Primate Sanctuary in Kahuzi-Biega National Park in the Democratic Republic of the Congo, this genetic bond is perhaps reflected in the relationships that form between orphaned chimps and their human caregivers. Wild chimps typically stay close to their mothers until they’re about 5 years old, so when a mother is killed by poachers, the separation can cause irreparable harm for young, developing chimps. Many of the orphaned chimpanzees brought to the sanctuary by Congolese wildlife officials arrive carrying both physical and emotional wounds.
The healing at the sanctuary goes both ways: Some of the caregivers who feed, cuddle, and help rehabilitate chimps are themselves victims of sexual abuse who have found independence and employment working with chimpanzees. Photographer Marcus Westberg, who spent weeks at the sanctuary, said that caregivers treat the chimpanzees as tenderly if they’re human children, and the young chimps, likewise, often act like kids—alternately playful, mischievous, and vulnerable.
Our genetic and ecological connections to other creatures extend beyond the great apes—and arguably our care should as well. ‘To view humans as entirely separate from other species… is both morally and factually wrong,’ said Westberg. ‘We are more similar than we realize.’”

Snow Leopard Stalking a Pallas Cat in TibetSnow Leopard Stalking a Pallas Cat in Tibet

“Spotted” by Donglin Zhou
Terrestrial Wildlife Winner
“At first glance, this might seem like a mother snow leopard (Panthera uncia) playing with her kitten, but a closer look reveals a lack of distinct spots on the cloudy fur of the smaller cat. The fully-grown feline is actually a Pallas’ cat, or manul (Otocolobus manul), a housecat-sized wildcat whose range across Central Asia overlaps with the mountains, steppe, and high deserts favored by its better-known cousin, the snow leopard.
Despite sharing a similar predilection for cold climates and high altitudes, there’s scant scientific evidence of snow leopards preying on Pallas’ cats. So when photographer Donglin Zhou saw a snow leopard stealthily approaching a mother Pallas’ cat on the Quinhai-Tibet Plateau, she was astonished. “Both species are hard to see at any time,” she said. “Let alone together.”
Oblivious to the snow leopard creeping up behind her, every fiber of the Pallas’ cat’s body was focused on hunting plateau pikas (Ochotona curzoniae) for the two-month-old kittens waiting in a nearby den. Zhou had spent days watching the mother cat feed her kittens, and was devastated to see the doting mother snatched by a snow leopard. Upon seeing her in the leopard’s jaws, she said, “the tears cannot stop coming into my eyes.”
After the snow leopard left the scene, Zhou, her guide, and forest rangers decided to leave some roadkilled pikas outside the den for the three kittens. For three weeks, they guarded and fed the kittens, until the tiny Pallas’ cats were ready to leave the safety of their den and begin to fend for themselves, stalking pikas and dodging danger on the wild, windswept plateau that had already claimed their mother.”

Little Egret Hunting a FishLittle Egret Hunting a Fish

“Catch Me If You Can” by Xiaoping Lin
Winged Life Winner
“As a member of the heron family, the little egret (Egretta garzetta) is typically a stealthy hunter, standing still in shallow water or waiting in a roost for unsuspecting fish to swim by. Or the bird shuffles its yellow feet to scare up prey, which it then pierces with its sharp beak. This egret in a lake near Xiamen, China, however, was caught off-guard when the small fish it had been eyeing was chased clear out of the water—by a much larger fish.
Photographer Xiaoping Lin used high-speed continuous shooting to capture the startled egret as it lifted off above the churning waves. The resulting image of fleeting action permanently frozen in a palette of whites and silvers is “like a poem,” Lin said.
Indeed, egrets have featured in Chinese poetry since at least the 11th century BC. They appear three times in the first known collection of Chinese poetry, the Shih ching; for centuries afterward, poets compared them to snowflakes and frost and used them as symbols of purity and impermanence. Despite this reverence, some species of egret were hunted to the brink of extinction or local extirpation in the 19th century in pursuit of their fashionable plumes. Today, although the little egret’s population is stable, species such as the Chinese egret (Egretta eulophotes) are still struggling to rebound amidst ongoing habitat loss.”

Kelp Being Eaten by Purple and Red Sea UrchinsKelp Being Eaten by Purple and Red Sea Urchins

“Blades and Spines” by Kate Vylet
Aquatic Life Winner
“The familiar story about sea urchins and kelp forests goes like this: First, sea otters that eat sea urchins were hunted nearly to extinction along much of the West Coast. Then, in the 2010s, sea star wasting disease killed off urchin-slurping sunflower stars (Pycnopodia helianthoides), causing sea urchin population to explode. Marine heat waves also took a heavy toll on giant kelp (Macrocystis pyrifera). Together, these factors left desolate “urchin barrens” where lush undersea forests had once thrived. Between 2008 and 2019, some 95 percent of kelp forests disappeared from Northern California.
Conservationists are now trying a variety of tactics to revive the lost forests, from breeding sunflower stars in captivity to designing an urchin-smashing robot to enlisting scuba divers to harvest urchins. Conservation photographer Kate Vylet, however, is troubled by the narrative that sea urchins are the bad guys in this story. “Urchins belong to the kelp forest as much as the kelp itself does,” Vylet said.
Vylet was swimming back to shore one day after diving in a thriving kelp forest off the coast of Carmel Bay, California, when she saw a blade of loose kelp being devoured by purple (Strongylocentrotus purpuratus) and red (Mesocentrotus franciscanus) sea urchins. To her, it illustrated the role urchins can still play in a balanced ecosystem, and she set up her camera to capture nature at work in all its complex ebbs and flows.”

Dead Trees at Jasper National ParkDead Trees at Jasper National Park

“Regeneration” by Miquel Angel Artús Illana
Landscape, Waterscapes, and Flora Winner
“Like many ecosystems in the western half of North America, many forests in Jasper National Park in Alberta, Canada, benefit from naturally occurring, low-intensity wildfires. Fires replenish soil nutrients, keep forests from becoming homogenous, and spur the growth of berry bushes that grizzly bears (Ursus arctos) and other wildlife love to munch. Yet beginning in 1913, park managers have actively suppressed wildfires; across the 92,000 hectare (227,000 acre) park, only eight fires in the 20th century grew larger than 40 hectares before firefighters extinguished them. Land managers across Alberta adopted similar practices.
Without fire, trees grew unnaturally dense, and dead logs accumulated on the forest floor. Beetle infestations swept through Alberta in the 2010s, leaving more than 2.4 million hectares (nearly 6 million acres) of lifeless, standing trees.
As all this dead timber collides with the hotter, drier conditions wrought by climate change, abnormally large and intense wildfires have exploded. This spring, for instance, smoke from gigantic Alberta wildfires stretched across the continent. And while fire-adapted forests can recover from low-intensity wildfires, research from across the Rocky Mountains has shown that tree seedlings struggle to take hold in the wake of mega-fires.
Today in Jasper National Park, as elsewhere in western North America, forest managers are trying to reverse a century of misguided management by igniting controlled burns and letting some wildfires burn. The resulting landscape may look different than the swaths of green spruce and pine that many park visitors are accustomed to, but as this haunting image of a burned spruce forest shows, they can be equally captivating.”

BigPicture Natural World Photography Competition: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by the BigPicture Natural World Photography Competition.

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The LGBTQI+ Gaze: Go Pride Month Gallery Cruising at These 6 Queer-Centric Exhibitions

The LGBTQI+ Gaze: Go Pride Month Gallery Cruising at These 6 Queer-Centric Exhibitions

During the lead-up to Pride Month, the news cycle has been dominated by an uproar against consumer brands’ supposed championing of queer causes. This cultural upheaval seems inevitable given the corporatization of Pride along with hollow marketing gestures and misdirected virtue signalling. At least we have great art shining a light at the end of the tunnel of bad beer and big box stores.

Here is a selected round-up of cool queer-centric shows currently on view in New York City. They’re all devoid of rainbows—most just happen to be up during Pride Month and represent a broad spectrum from high art to low brow.

For a varied gallery crawl that takes you from downtown to Brooklyn, be industrious and see them all in one day!

Purple Prose” at Marianne Boesky Gallery

John Burtle, High Tide or/and There is Sooooooooo Much, (2023) Copyright: © John Burtle. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

There’s more than meets the eye in most of the pieces on view in the group show “Purple Prose.” In Felix Beaudry’s The Glob Mother and Lazy Boy, two knit grotesqueries recline in a state of sloth on a hideous Archie Bunker 1970s couch—it is a work that is amusing at first, before it becomes unsettling. Elsewhere, Borna Sammak’s Gluck is an entrancing still-life of a chalice overflowing with vines and flora on black canvas, deftly made by combining beach towel remnants and embroidery. Upon closer inspection, Michaela Yearwood-Dan’s turgid oil abstraction has a hopeful glimmer of an embedded shiny swath of glass beads. John Burtle’s intricate red ink fantasia is crammed with narrative.

Organized by Kory Trolio, the exhibition at Marianne Boesky Gallery is queer in the modern sense: transgressions lean more towards psychological reveries than flagrant sexuality, and the definition of queer is really whatever one makes it. The show veers from ruminative at one turn to brutal at the next. Its title, “Purple Prose,” was derived from a term describing an overly embellished writing style. In that sense, high-drama is what links the artworks on view.

The gallery also deserves a special Bud Light toast and props for serving “wieners and fudgsicles” at the opening!

The group show “Purple Prose” is on view at Marianne Boesky Gallery, 509 West 24th Street, New York.

Juan Pablo Echeverri’s “Identidad Perdida” at James Fuentes

Juan Pablo Echeverri, detail from the series miss fotojapón, 1998-2022. © The estate of Juan Pablo Echeverri, courtesy of James Fuentes, New York and Between Bridges, Berlin.

Juan Pablo Echeverri, detail from the series miss fotojapón, 1998-2022. © The estate of Juan Pablo Echeverri, courtesy of James Fuentes, New York and Between Bridges, Berlin.

The show’s apt title translates as “Lost Identity,” and the Colombian artist specialized in consciously losing his, gleefully hopscotching between personas. The centerpiece is a portion of miss fotojapon, Echeverri’s 24-years-in-the-making opus, a daily self-portrait series that began in a photo booth and later segued to digital camera documentation. The project was prematurely halted upon the artist’s death in 2022 due to malaria at age 43.

But like Echeverri’s art practice, the exhibition isn’t so much a requiem as a celebration. His wry video work—an assortment of these play in the gallery’s lower level—is particularly exuberant. In the 2009 gem holiGay, the viewer encounters a gay beach proliferated with archetypes (all played by Echeverri, of course) frolicking in the surf, lip-synching to Madonna’s “Holiday.”

The exhibition (held jointly with an offshoot at Wolfgang Tillmans’s project space Between Bridges in Berlin, Germany) solidifies that Echeverri wasn’t just a distinct voice but a one-man chorus.

Juan Pablo Echeverri’s “Identidad Perdida” is on view until July 28 at James Fuentes, 55 Delancey Street, NY.

Silvia Prada’s “Obsessions,” featuring Coco Capitán, at Viso Project

Silvia Prada, Cahier d'Ombres, set of three. Courtesy of the artist.

Silvia Prada, Cahier d’Ombres, set of three (2022). Courtesy of the artist.

The Spanish artists Silvia Prada and Coco Capitán teamed up for a sexy interlude of 1990s pop culture that isn’t so much a campy hodgepodge as it is an encapsulation of the gay male mindset of that era.

It’s also autobiographical. “I never consumed lesbian culture the way other lesbians did,” Prada says, her aesthetic perennially a laser-guided missile of what gay men want. “My identity culturally is more of a gay man. I grew up in my father’s hair salon for men and around men’s beauty. I socialized around gay men.”

The show consists of collages and illustrations, punctuated with Capitán’s photo embellishments. The specter of Calvin Klein looms large. There is bootleg Obsession merchandise and a porcelain replica of the iconic bar soap of the quintessential 1990s scent—the latter, an edition of 30, was Prada’s first foray into sculpture. There are also 12 delicate drawings of Princess Diana. How does she fit in to all of these sultry goings-on?

“In the 90s she was dressing so gay and she was rebellious,” Prada explains. “She was reacting to society. I was so into her looks with the big sweaters, jeans, and biker shorts. She made me feel gay. She was so queer and ladylike at the same time. It connected to Madonna’s Sex book and other things I was consuming at the time and I said, ‘Ok this makes me horny.’”

Silvia Prada’s “Obsessions” is on view at Viso Project, 46 Pearl Street Brooklyn, NY 11201.

Brontez Purnell’s “Anti-Alter Ego” at Trotter & Sholer

An installation view of Bronze Purnell’s “Anti-Alter Ego.” Courtesy of Trotter & Sholer.

“Cancel Me?!?!?!?!? LOL – HOW BITCH!?!?!?” captions one of the tamer works in Purnell’s debut art show, which is like stepping into an immersive version of a black-and-white Xeroxed punk zine. Purnell, an accomplished musician, choreographer, and writer, brings his riotous DIY sensibility to whatever medium he indulges in. “I try to claim femme but really I’m just horny and violent and often misunderstood” is scrawled in lipstick across a mirror in a color photograph self-portrait. There’s no nihilism in his anarchy.

Purnell combined his diverse creative talents for a performance on the opening night, which featured the artist writhing nude in a pile of paper. On July 6, a film component, 100 Boyfriends Mixtape (a companion to his transgressively hysterical 2022 novel 100 Boyfriends) will screen at Performance Space New York and is, expectedly, not for the feint of heart.

Brontez Purnell’s “Anti-Alter Ego” is on view until July 8 at Trotter & Sholer, 168 Suffolk Street, NY.

A District Defined: Streets, Sex, and Survival” at 401

Lynsey Addario, untitled (1999). Courtesy of A District Defined: Streets, Sex, and Survival.

Before the High Line, the Standard, and gentrification in New York, Manhattan’s Meatpacking District was the nexus of the city’s transsexual sex trade and queer nightlife scenes in the 1980s and ’90s. It was a time when heading to the wild west meant going past 9th Avenue and West 14th Street. The show “A District Defined” is a poignant visual document of this moment in history, culled from the photographs of Lynsey Addario, Lola Flash, Jill Freedman, Efrain Gonzalez, T.L. Litt, Catherine McGann, Katsu Anita, and Joseph Rodriguez.

This particular era of the neighborhood is trending at the moment. (It’s a character unto itself in HBO’s new The Stroll documentary.) The once-maligned last red light district of downtown and its after hours denizens (many of whom had no choice but to be there during that era’s dismal job climate for trans people) are now being viewed with a more empathetic mindset. We’re lucky that the photographers on-hand were there to not only capture the decadence, but also the grace.

“A District Defined: Streets, Sex, and Survival” is on view until July 9 at 401, West 14th Street, NY.

Isaac Peifer, Caitlyn Jenner Smoking Cigarette Outside Malibu Beach House (2023). Courtesy of THNK1994 Museum.

Peifer began painting in 2019 and specializes in rendering pop culture icons who saturate the airwaves and doom scroll—the kind of people you’d wish you’d never heard of—in oil on canvas. His terrifyingly prescient rogue’s gallery consists of LGBTQIA+ news cycle goblins like the Canadian shop teacher with the Z-Cup breasts and the non-binary nuclear waste guru/ luggage thief.

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You’ve Seen Them Everywhere, Now See How Fermob Outdoor Furniture Is Made

You’ve Seen Them Everywhere, Now See How Fermob Outdoor Furniture Is Made

Le Jardin du Luxembourg in Paris in the springtime is something to behold. The tree-lined gardens brim with Parisians seemingly doing nothing and everything all at once. Amongst throngs of children gleefully frolicking and influencers posing and promenading, countless coteries of sunbathers, readers, artists, students, and seniors spill out into every slice of the park to enjoy a relaxed outlook of life, many seated comfortably for just an hour or two from green powder coated aluminum chairs licensing such laconic leisure.

The Senat chair made by French outdoor furniture brand Fermob in 1923 seems to be everywhere you look: in intimate pairs, lined along footpaths seemingly awaiting a parade, darkened into silhouettes underneath trees, arranged in circles of impromptu outdoor classrooms. The chairs are there for everyone to use; people regularly move the heavy iron metal seats across the park as needed and desired, positioned for face-to-face socializing or angled for privacy, for sitting, or used as a lounge with two bridging across from one another. The Senat Chair, now the Luxembourg Side Chair, is beloved for their comfortable slat backrest and seat, ergonomic enough for a few hours of hunched reading, slouched resting, or to simply observe life pass by in whatever position most natural to its occupant… a seat la vie that was later reinterpreted by Frederic Sofia into the similar but slighter weight aluminum-built Luxembourg Collection.

Side by side photos of Fermob Studie and Luxembourg Chairs in the brand’s newest 2023 hue, Lapilli Grey. Imagined to evoke stone, its neutral matte and textured finish joins 21 other metal color options.

Four empty Fermob’s Luxembourg Collection chairs staged in Paris in Luxembourg Park.

A quiet quartet of Fermob Luxembourg Side Chairs with the Luxembourg Palace and the Grand Bassin in the background. Photo: Gregory Han

Similarly, Fermob has made an urban imprint across the ocean in New York City – specifically inhabiting Bryant Park with great success. Credit Andrew Manshel, who in 1992 spearheaded Bryant Park Restoration Corporation’s effort to revitalize the public space by introducing thousands of Fermob Bistro Classic Chairs into the proverbial wild of New York City’s once most notorious park. Despite their sleight, cross-legged fawn stance and 1889-born French origins, New Yorkers adopted the Bistro chairs and tables as their very own. In turn these cafe-born sets transformed the park’s landscape into an environment of relaxed conviviality from the seedy, illicit spirit that previously inhabited Bryant Park’s every corners.

A four square of photos of the Fermob Bistro chair and tables in various outdoor settings.

Left out in similar fashion to their Parisian counterparts for locals and tourists alike to enjoy as they please – unbolted and welcome to be rearranged – the chairs have become symbolic of the social contract between the city and its citizens, one born of trust and offering a respite from the hustle and bustle of the New York minute. And in the process they’ve become synonymous with America’s own love affair with the concept of joie de vivre.

Fermob Luxembourg Chair staged against a multicolored abstract shape backdrop with a crescent window with bars overhead.

As a longtime fans of the longstanding documentary television series How It’s Made, we were delighted with the invitation to gain access behind Fermob’s factory doors to observe the labors required to manufacture both of the ubiquitous pieces of outdoor furniture of global renown in person.

Four of Fermob's factory team in red t-shirts posing with Fermob outdoor furniture.

Fermob representative showing how metal pieces are bent and assembled into outdoor furniture slats.

Photo: Gregory Han

Red hot metal clamps being pulled out from furnace, intended to attach bent back tubing of the Bistro chair and table.

Man hammering red hot metal clamps securing bent back tubing of the Bistro chair and table.

Each Fermob metal chair and table reveal the unique imprint of hand assembly. “We only add new machines when we absolutely need to,” noted our assembly line tour guide as he invited us to watch as red hot metal clamps were bent and secured onto the steel rod framing of the ornate Montmartre chair.

It didn’t hurt this assembly process unfolds in the bucolic countryside of France, where the brand’s iconic emblem of French life along with a wider breadth of outdoor furnishing are all manufactured/assembled by a seasoned team of 260 employees and 80 temporary workers (40% of Fermob’s workforce is notably composed of women, many empowered to work on the assembly line due to the lightweight construction of machined steel and even lighter aluminum furniture).

Woman in red t-shirt hammering back support of mesh and metal frame Fermob chair into place within factory setting.

Two women in factor assembling Fermob outdoor chairs with mesh backs.

Photo: Gregory Han

Man in welding masking welding together aluminum armless chair.

Our small group of journalists followed various pieces of steel and aluminum as they made their way across the factory floor to be stretched, bent, melted, smoothed, attached, assembled, and eventually painted one of twenty-two nature-inspired hues. While large industrial machines occupied certain sections of Fermob’s operations, a human touch was always there to interject and leave its imprint, most noticeably across the company’s larger aluminum and steel outdoor chairs and tables.

Assembly line of hanging unpainted Fermob Studie chairs waiting to be painted.

Assembly line of unpainted Fermob Studie chairs waiting to be painted. Designed by Tristan Lohner, the 100% aluminum Studie would go onto win the Red Dot: Best of the Best in 2022. Photo: Gregory Han

Assembly line of hanging Fermob Bistro chairs freshly painted and dried.

Yellow dry paint being sprayed onto Fermob Luxembourg Chair base.

Because Fermob’s painting process uses dry particle paint, excess overspray is easily cleaned by air alone to be reused.

Yellow dry paint being sprayed onto Fermob Montmartre Chair base.

Painting – a process that could be fully automated by robotic means – is assigned a painter to ensure sections easily missed/overlooked by machines are fully covered before eventually sending their way to be baked into a durable, vibrant protective finish.

Fermob’s success amongst New Yorkers and other Francophiles has emboldened the brand to make a concerted push to increase brand awareness amongst American urban and suburban dwellers seeking to bring a little of the romanticism associated with the Parisian lifestyle.

Fermob New York City showroom interior

Photo: Gregory Han

A great of Fermob’s current efforts are dedicated to expanding into outdoor lighting, with an emphasis in rechargeable LED light lanterns. The brand’s New York showroom is their first retail outreach to see, touch, and sit upon their catalog of outdoor furnishings.

Fermob CEO Baptiste Reybier speaking at the Fermob hosted annual Design Talks.

Fermob Chief Operating Officer Baptiste Reybier speaking at the company’s annual design talks advocating the importance of public placemaking before introducing former director of the Bryant Park Restoration Corporation, Andrew Manshel. Photo: Gregory Han

Manshel went onto write a book documenting his efforts in public placemaking. In his Learning from Bryant Park: Revitalizing Cities, Towns, and Public Spaces the urban optimist cites the success of Bryan Park to the “triumph of small ideas,” a point he would go onto emphasize necessary today and tomorrow, as it was over three decades ago. And what is a chair but a minor triumph against fatigue from the comforts of a slightly reclined position.

All photos provided by Fermob except where credited.

Gregory Han is the Managing Editor of Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Interview: Sophie de Oliveira Barata on The Alternative Limb Project and the Nexus of Art and Medicine

Interview: Sophie de Oliveira Barata on The Alternative Limb Project and the Nexus of Art and Medicine

Model Kelly Knox wearing “Synchronised.” Photos by Omkaar Kotedia, all images © The Alternative Limb Project, shared with permission

For more than a decade, Sophie de Oliveira Barata has been at the helm of The Alternative Limb Project, a Lewes-based studio that makes custom prosthetics for people with amputated or missing appendages. The designs range from uncannily realistic to fantastic, fairytale-like creations that fall at the intersection of art and medicine, a unique meeting point she discusses in a new interview with Colossal.

Some people have an idea that it will just be exactly the same all the time, and your body is a living organism, which is impossible to replicate. In some ways, it’s easier to go for an alternative because you haven’t got to match something that’s just changing all the time.

In this conversation, de Oliveira Barata speaks about the young girl who helped inspire the project, how cultural conceptions of physical disability have evolved, and the imaginative, empowering possibilities of alternative limbs.

Read the interview.

 

A person sits on a chair out of sight so that the image focuses on an anatomical prosthetic leg with blue muscles and a realistic looking partial foot

“Anatomical Leg”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Interview: Sophie de Oliveira Barata on The Alternative Limb Project and the Nexus of Art and Medicine appeared first on Colossal.

One Photographer’s Failures That Led to Success

One Photographer’s Failures That Led to Success

It’s easy to look at anyone who has had success and see a perfect game, or luck, or a helping hand, but it’s often the case that to reach success, you have to stand on many past failures.

Few of us are overly public with the times we failed, be it in a shoot, a business venture, or an ambition. Failure is tough to swallow and typically flies in direct opposition to our self-image. Nevertheless, it’s important to fail and the could be a case for failing often. If you never fail in anything you do, it’s highly unlikely you’re pushing yourself, but rather playing it safe.

In this video, Peter Lindgren, an undeniably successful photographer, videographer, and YouTuber, talks about the failures that led him to this point. Although he is now well-known for being a creator in the photography sector — and a damned-good one — he failed at a similar career in a different sector. That isn’t embarrassing, it isn’t strange, and it detracts nothing from his achievements. As far as I can tell, failure is necessary to success in any impressive and meaningful way.

What failures have you built your success on? Share them in the comment section below.

F5: Thorsten Albertz Shares His Daily Snack, Fave Podcast, Dream Car + More

F5: Thorsten Albertz Shares His Daily Snack, Fave Podcast, Dream Car + More

“I studied mostly in Berlin – a very “left” city, especially amongst students. At the time, I thought of myself as a future art historian and planned to go into academia after university,” said Thorsten Albertz, partner at albertz benda gallery in New York and Los Angeles. “Artists, curators, and gallerists were often invited to speak to our class about their lives and careers, and none of their talking points resonated less with me than the gallerists.”

“On one occasion, the idealistic 20-something in me became riled up and filled with the need to argue. “Art is not for sale,” I exclaimed, “Art can’t be commercialized!” During a mixer after the lecture, the guest speaker had the audacity to approach me, ask me about my opinions, and finish the conversation by flipping over his business card while telling me ‘… if you ever need a job, call me,’” he quipped. “Fast forward a few months, I needed just that: a job. I was desperate and ready to do anything, so I entered the commercial gallery world with nothing but reservations. Quickly, I figured out that I had a knack for speaking with artists. I spoke their language, figured out what was important to them, and thus slowly came to the conclusion that every idealist gets to at some point: business is not the enemy of creation, it’s the facilitator.”

Thorsten Albertz

Thorsten began his career at Arndt & Partner in Berlin, launching the gallery’s Zurich and New York locations. In early 2008, he became Senior Director for Korean-owned Arario Gallery. Two years after that, Thorsten left the commercial art world to take on the position of Director of Cultural Programs for the Goethe Institute Japan in Tokyo. During his tenure, he developed multiple shows with distinguished museums and curators throughout the country. Returning to New York in 2012, Thorsten joined Friedman Benda as a Director. In fall 2015, he founded albertz benda with Swiss-born dealer Marc Benda, and in 2021 they expanded the gallery to a second location in West Hollywood.

When not busy working, Thorsten can be found at the gym or daydreaming about his most prized possession. “A black leather teddy bear sofa by the Campana Brothers. I have never sat on it, and it has been in storage for years, but I think about it often. I decorate my future fantasy loft around it all the time.”

Today, Thorsten Benda joins us for Friday Five!

screen shot of a podcast screen reading SERIAL KILLERs PICU Killer

1. Podcasts

I’m a podcast fanatic! Especially anything and everything that involves serial killers. My friends worry about me often because listening to gruesome retellings of murders and crimes relaxes me. This is especially when in combination with my next favorite thing to do – enjoying a day on a Hawaiian beach. It is the perfect alignment of relaxation and excitement when I need to let my mind wander away from my daily routines.

dark blue convertible sports car with a hilly landscape behind it

Photo courtesy Robb Report

2. Porsche 911 Carrera

Boys need toys… and I don’t have mine yet. I am dreaming of a Porsche 911 Carrera. Although I was born and raised in Germany, I don’t have much of a sense of patriotism. But when it comes to cars, I like them to be German. Of course, it sounds stereotypical, but stereotypes are stereotypes because there is truth to them. A 911 Carrera to me combines grace and glamour, strength and power, and mechanical complexity in sleek elegance.

3. Daily Pick-Me-Up Snack

My daily go-to ritual on the nutritional “pick-me up” front is my daily devouring of chocolate cookies in combination with a sugar-free Red Bull. It has to be the original small sized can and is limited to one per day – something I unfortunately can’t say about the chocolate chip cookie.

swimming pool and surrounding entertainment area at sunset

Photo courtesy Petit Armitage

4. Petite Ermitage

While I love to go out, I don’t like frequenting new places all the time. I need to feel at home wherever I go. After 15 years in NY, I relocated to Los Angeles around a year and a half ago, and sought to establish a home away from home. Fortunately, I discovered the club membership at Petite Ermitage in West Hollywood, which I’m delighted about. I believe that the people who frequent a club are what make it special, and this rings true at Petit Ermitage, where there is a perfect blend of down-to-earth individuals and fascinating Angelenos.

light-skinned man wearing short and a t-shirt posing atop a four wheeler

Photo: Thorsten Albertz

5. Dubai

Dubai excites me in every respect possible – from the architecture to endless entertainment opportunities to the blending of all cultures. It’s a true amalgamation of possibilities, cultures, and lifestyles. One might consider this another paradox, given Dubai’s totalitarian form of governing. I am sure those who know, understand.

Work from Thorsten Albertz:

gallery space with large format art on the walls and equally creative chairs

Art by Lanise Howard, Furniture by Estudio Campana, Ceramics by Ebitenyefa Baralaye Photo: Julian Calero

two large paintings hang over a long, low credenza

Art by Famakan Magassa, Furniture by Estudio Campana Photo: Julian Calero

gallery space with large format art on the walls and abstract wood furniture

Art by Faye Toogood, Furniture by Christopher Le Brun Photo: Julian Calero

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.