The world’s largest watermelon is almost ready for Muscatine’s riverfront.
World’s largest watermelon sculpture coming to Muscatine riverfront
Many Wests: Artists Shape an American Idea
On View
Smithsonian American Art Museum
Many Wests: Artists Shape an American Idea
July 28, 2023–January 14, 2024
Washington, DC
Many Wests is an exhibition focused on what gets left out of stories traditionally told about the American West. Visions of Anglo-Americans bravely settling the landscape originate, as we learn from the exhibition’s didactic material, with the US government’s policy of unhalted territorial expansion beginning at the end of the seventeenth century. Organized by a team of curators—Amy Chaloupka at the Whatcom Museum, Meanie Fales at the Boise Art Museum, Anne Hyland at the Smithsonian American Art Museum, Danielle Knapp at the University of Oregon’s Jordan Schniter Museum of Art, E. Carmen Ramos, currently Chief Curator at the National Gallery of Art, and Whitney Tassie at the Utah Museum of Fine Arts—Many Wests showcases forty-eight modern and contemporary (mostly Indigenous, Latinx, Black, or Asian American) artists. These diverse curatorial and artistic voices work together to show, as the Utah Museum of Fine Arts put it in the promotional materials for their version of the show earlier this year, “how the West wasn’t one.”
Visitors to Many Wests are greeted by a monumental detail of Apsálooke/Crow artist Wendy Red Star’s photographic series “Four Seasons: Fall, Winter, Spring, Summer”(2006). Red Star is one of a number of artists in the exhibition who dissect and examine distorted narratives about Native Americans. Seated in ceremonial dress among plastic flowers and inflatable animals and set against panoramic photographs of Western landscapes, Red Star conjures the deadpan satire of Cindy Sherman’s “Film Stills” to skewer treatment of Indigenous peoples in ethnographic displays. Nuyorican artist Raphael Montañez Ortiz, meanwhile, takes on Hollywood’s stereotyping of Native Americans in Cowboy and “Indian” Film (1957–58). Ortiz chopped up copies of Anthony Mann’s Western Winchester ’73 (1950) with a tomahawk (a tribute to his Yaqui heritage) and ritualistically jumbled and reassembled them, mounting a literal attack on the genre. The violence with which Ortiz meets Mann’s film feels both just and hopeless—the film may be destroyed, but the damage is already done.
The exhibition awards considerable space to Latinx experiences. Among the most compelling works is photographer Christina Fernández’s María’s Great Expedition (1995–96), in which Fernández embodies the character of her grandmother in order to narrate Chicanx stories through photographs and explanatory text. Ken Gonzales-Day’s devastating Erased Lynchings (2006), part of a larger series the artist developed between 2002 and 2017, features a grid of fifteen appropriated souvenir cards from extrajudicial murders in California between 1850 and 1935, the brutalized bodies of the victims removed from the images. Gonzalez-Day’s series focuses on violence perpetrated against Latinx, Native American, and Asian American individuals through a mode of racial terrorism most Americans associate only with African American targets. Asian American trauma receives direct attention in the works of Japanese American artists Wendy Maruyama and Roger Shimomura, who both pay homage to the 13,000 people unjustly interned at Minidoka Relocation Center between 1942 and 1945. Maruyama’s work functions as a kind of anti-monument, fashioned from the reconstructed identification tags of incarcerated people, while Shimomura contributes a painting of the camp in the style of a fourteenth- or fifteenth-century Japanese byobu screen. These works bear haunting witness to lives previously rendered forgettable.
The vast majority of the artworks in Many Wests are readily identified with ethno-racial categories: Native American, Latinx, African American, Japanese American—notable exceptions include Angela Ellsworth’s breathtaking Seer Bonnet XI and XII. These crafted caps were painstakingly constructed by the self-identified Mormon artist out of pearls and needles in tribute to prophet Joseph Smith’s thirty-five wives. The curators’ apparent discomfort with the show’s readymade classifications is indicated by the fact that they demarcate the works not by ethnicity or culture, but rather through the categories of “Caretakers,” “Memory Makers,” and “Boundary Breakers”—labels so abstract as to be ornamental. The problem of organization raises a more fundamental question about exhibitions in 2023: namely, is “all-but-white-artists on x topic” a sustainable model for an exhibition theme? Certainly, opportunities to show complex, interesting works by Indigenous, Latinx, Asian American, and African American artists are both exciting and long overdue. Yet to place such works in one bucket, simply distinguished from those of Anglo artists, also holds the danger of homogenizing and devaluing unique experiences. Many Wests is strongest when focused specifically on the question of narrative—which stories are being told, how, and for what purpose? The exhibition’s arguments might even be strengthened by the inclusion of an artist such as (the white, straight, male) Richard Prince, for example, whose works dismembering the figure of the American cowboy have much to discuss with those of artists such as Ortiz, Red Star, and Fernández. As museums rightly expand and diversify their holdings and exhibitions, they should be mindful not to let this task overshadow their primary responsibility: to offer visually stunning, intellectually rigorous exhibitions that inspire visitors of all backgrounds.
Leica Analog Cameras Offer A Mindful, Tactile Journey
I’d be lost without my computer, my iPhone and my digital camera when on assignment. But sometimes I’d much prefer to just wander the woods alone, with film, foregoing the near-perfect efficiency that digital technology provides. And though I started my journalism career using an analog camera, I switched to digital for both personal and professional use when the time and price was right.
There’s no question it was a boon, making quick work of any sort of editing that would have formerly required a redo. But I missed the surprises—the places where art resides and where flashes of the unexpected are nothing short of dazzling. Apparently I’m not alone. Leica, for example, maintains an analog presence in its product portfolio to demonstrate its commitment to the full spectrum of photography and all that implies.
Mike Giannattasio, U.S. president of Leica
© Sean Black 2023
“Analog cameras immerse the photographer in a tactile journey, beginning from loading the film to deliberating over each shot due to the finite nature of film. This process prompts a mindful approach to composition, rendering photography a deeply personal practice,” says Mike Giannattasio, U.S. president of Leica.
Which begs the question: Are we selling a piece of our collective soul at the expense of a richness that only time and imperfections can serve up?
Not nostalgia
I came of age on LP records, when the size of one’s collection was as much a badge of honor as the length of one’s hair. When CDs came along, I was quick to embrace them, appreciating their clarity without the disruption of the familiar crackle of a turntable needle. I subsequently found renewed fulfillment in not only the ritual of vinyl, but also the warmer, fuller sound that digital can’t touch.
Interestingly, writing instruments, as in pens designed for re-use, are continuing to rise in popularity, though email is no doubt the most efficient mode of communication. A pen, like a record, engages the senses, requiring interaction that a computer does not. Traditional books, too, are holding space against digital equivalents with some studies showing greater recall and generally increased enjoyment from print.
David Sax explains this and more in the Revenge of the Analog, “Surrounded by digital, we now crave experiences that are more tactile and human-centric. We want to interact with goods and services with all our senses, and many of us are willing to pay a premium to do so, even if it is more cumbersome and costly than its digital equivalent.”
But what are we really “craving” as we delve into our imperfect analog pasts?
“Digital technology has undoubtedly revolutionized the photographic process, but the speed and ease it offers sometimes come at the expense of the craft’s mechanical essence,” explains Giannattasio. “Using an analog camera is an engaging experience; it demands patience, purposefulness, and creativity—factors less prominent in the digital space. The conversation creates space for cohabitation of analog and digital, embracing the diversity of experiences crafted by the creative act of making a photograph.
“What we define as a revival underscores that there is a place for the craft of analog in our digitalized world, highlighting a desire amongst photographers to engage with the world in a deliberate way,” Giannattasio continues. “This return to analog opens the door to a new generation of photographers looking to explore the medium’s experiential side, even as it allows seasoned photographers to reconnect with their roots.”
But it’s not all black and white.
Sax remarks, “The choice we face isn’t between digital and analog. That simplistic duality is actually the language that digital has conditioned us to: a false binary choice between 1 and 0, black and white. Samsung and Apple. The real world isn’t black or white. It is not even gray. Reality is multicolored, infinitely textured, and emotionally layered.”
And that makes us sublimely human.
How to photograph the super moon on August 31
With the second of two supermoons in August set to grace our skies tomorrow night, we asked Canon Master Sean Scott for a few tips for capturing it.
The first step in all photography is deciding what kind of image you want to capture. This will determine your location, which camera and lens to use, and which settings.
If you want a landscape image with the moon taking up a smaller portion of the image, you’ll want to use a wide-angle lens, but if you want a large image of the moon, it’s best to use a telephoto lens.
From here you can determine the best location to shoot, which will be key in the outcome of your image, especially for shooting a subject like the blue supermoon.
For a wide angle shot, you want to find a nice location without too much light pollution to let the moon light up your landscape. Some of my favourite spots are Burleigh Heads or the Byron Bay Lighthouse.
If you’re using a telephoto lens, then using an app like The Photographers Ephemeris is great.
This will not only give you the time of the moon rise but also a lot of information as to where the moon will rise and be in the sky at night.
The basics
The specifics on how to shoot the moon will depend on if you are using a wide-angle lens or a telephoto lens, but these basics apply across all lenses.
- A good tripod to stabilise the camera and ensure a clear image is always the best starting point
- A remote shutter either via the Canon app or even a 2 second timer works will also be helpful to stop camera shake when pressing the shutter
- You will also want to turn off image stabiliser on the lens as it is not needed with a good tripod set up
- For those looking to run images through processing, it’s best to set the camera to Manual mode and shoot in Raw, as this will provide the most post processing options.
Exposure
It’s important to keep in mind that the actual exposure setting will continue to change as the night gets darker, which will impact the outcome of your images. If the exposure time is too long for the lens you have selected, you will capture the movement of the moon, resulting in blurred images.
With a wide-angle lens, you have a lot of options for a longer exposure – I would normally start at 400 ISO F8 and then adjust the exposure time to suit.
With telephoto lenses I like to shoot at 1/250 second and adjust aperture and ISO to suit. If you’re looking for a silhouette, then exposing for the bright part of the moon will achieve this.
Incorporating a subject
If you’re hoping to place a subject in front of the moon with a telephoto lens, then this tip is for you. You will need to get a long way away from your subject with a telephoto lens if you want to place them in the same shot as the moon – up to 1km away. I recommend you do a test shoot so you can make sure that you have the angles right for when the moon rises.
There is no right or wrong way of shooting the moon and just setting the camera to manual and experimenting with some string will not only give you a variety of results but also teach you more about your camera.
The important things to remember that will enable a great photo are the tripod, remote shutter, and making sure the exposure time is not too long for the lens you have selected.
In ‘Fancy Pigeons,’ Brendan Burden Captures the Flair of Underappreciated Birds
Jacobin pigeon. All images © Brendan Burden, shared with permission
Often seen clambering for scraps on city streets, pigeons tend to be an overlooked and even despised species. The birds’ ubiquity in urban areas, and their colloquial characterization as “flying rats,” have given them a lackluster reputation that Brendan Burden upends in his ongoing series of portraits.
The Ottawa-based photographer originally encountered the crest of the Jacobin pigeon, a lavish crown of plumage that wraps around its neck like a voluminous garment. “I had no idea pigeons could look this way and started doing some research and came to find out that there is a wide variety of pigeons, wild and domestic, many of which are quite beautiful,” he says. “I wondered whether I could apply more formal portrait techniques to these birds.”
After Ottawa Magazine commissioned him to shoot some creatures for a story on the Canadian Pigeon Fancier’s Association, the Fancy Pigesons series began to take shape. “My intention was to juxtapose the lowly pigeon with formal portraiture techniques and provide a new perspective on something ubiquitous, bordering on completely invisible,” Burden shares. Set against solid, paper backdrops resting in a large, show cage, the images evoke studio shots and capture each creature’s unique features. The Kormorner tumbler, for example, appears as if it’s wearing a turtleneck of brown feathers with a puffy collar, while the Moden’s gleaming, iridescent neck contrasts the soft, black and orange plumes of its body.
Left: English long-faced tumbler. Right: Lavender racing homer pigeon
As Burden photographed the birds—all are in the care of fanciers and avian enthusiasts rather than breeders—he learned about the unique relationship they have with humans. Pigeons are likely the first species to be domesticated, a history reflected in Mesopotamian cuneiform tablets and Egyptian hieroglyphics that suggest the practice was likely happening more than 5,000 years ago. He explains:
Had you asked me prior to undertaking this project, where they came from, I would have just assumed that they were wild and had some kind of symbiotic relationship with humans, like rats or mice or any number of other creatures. But in fact, they’re feral domesticated birds, and the reason they’re everywhere is in part because humans have been breeding them, often for nothing other than their beauty, for thousands of years.
As Burden adds to the Fancy Pigeons series, he’s shifting to photographing wild species, a change that requires more travel, time, and patience. “Being that they’re birds, sometimes you just don’t get what you hoped for and have to reshoot,” he says. You can follow his progress on Instagram, and shop limited-edition prints on his site. (via PetaPixel)
Kormorner tumbler
Bald head roller
Top left: Crested pigeon. Top right: Copper black wing archangel. Bottom left: Egyptian swift. Bottom right: Crested pigeon
Domestic flight
Ring necked dove
Left: Show homer pigeon. Right: Racing pigeon
Indian fantail
Moden
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 In ‘Fancy Pigeons,’ Brendan Burden Captures the Flair of Underappreciated Birds appeared first on Colossal.
Historic Atlantean Sculpture Unearthed at Chichén Itzá’s New Zone
In an exciting revelation for the archaeological community in Mexico, an Atlantean sculpture has been discovered on the path that will lead to a new section of Chichén Itzá.
The Unusual Photography of Pen Densham – Larchmont Buzz
One of our favorite things about writing the Buzz is learning more about our fascinating neighbors, like Pen Densham. Well-known as an accomplished film and television producer, writer, and director, Densham is also a photographer.
Densham began his career in still photography, but abandoned it to develop his career in film and television. The longtime Windsor Square resident, who now lives in West Hollywood, told us his interest was piqued a few years ago when he saw the photography of his teenage daughter taking a high school photography class.
“Her work was so free, it was inspiring,” explained Densham. Since returning to photography and now using a digital camera, Densham has developed a unique body of impressionistic images inspired by nature. Recently Densham invited us to take a look at his work.
“I was raised loving photography. My mother and father made 35 mm theatrical short films. I even rode an alligator in one at the age of four. Cameras seemed like magician’s instruments. I yearned to cast “spells” with them,” wrote Densham in the introduction to one of his photography books, filled with images inspired by his koi pond.
“Casting a spell” is a theme throughout Denham’s work. His images are very large, some as large as six feet. The sense of motion and vibrant color draw the viewer in. His work is inspired by nature and is created without any manipulation of the digital images in Photoshop.
“I keep it very simple,” explained Densham. “I don’t know how to do any of that. I’m interested in creating something you’ve never seen.”
“Waiting, by a wind blown tree, a wave smashed beach, a vigorous mountain stream. I want to pull everything in the world through my lens. I want to paint with the sun, at a 186 thousand miles a second,” wrote Densham on his website.
Once captured by the camera, the images are beautifully printed on very large paper, which adds depth to the image, drawing the viewer deeper into the image trying to figure out what you are looking at. Naturally, we asked as he gave us a tour of Schoos Design where much of his work is displayed. Densham explained we were looking at a reflection, or a plant rippling in the breeze or a wave. He has managed to cast a spell with his camera and capture a moment on film that we would never have seen otherwise.
Densham said he will often wait until he finds the right moment to snap the shutter, and thanks to digital photography he can take hundreds of shots, overexposing some or using long blurring shutter speeds to create just the right image. He loves finding patterns and developed a series of images where he folded the image on itself, creating a mirrored reflection.
Densham brings his filmmaker’s eye to still photography, creating dynamic moving images. He made a conscious decision to forget about all the rules of photography that he learned years ago in his search for “qualia,” the philosophical term for experiences that have no words, just feelings. The images are colorful, cheerful, and uplifting. Abstract and yet familiar. What a treat to explore with the artist!
The Art Of Butter Sculptures Dates Back To Medieval Times
Most people assume that butter sculpting is of American origins. Sure, we’ve loved it for decades but it actually dates back to medieval times.
UND Print Club, Public Arts Commission present ‘Flowers Through the Eyes of Warhol’
UND student group’s new exhibition at Alerus Center features opening reception Sept. 7
Wildlife photographer gets surrounded by 13 wolves, films TikTok
A German wildlife photographer managed to get some amazing shots by entering the metaphorical lion’s den and encountering a not-metaphorical pack of wolves.
The photographer in question is 20-year-old Meline Ellwanger, who goes by @meline.wildlife on TikTok and @meline.ellwanger on Instagram, shared a video of her being surrounded by 13 wild wolves in the Arctic. Her video has already accrued over 14.6 million views at the time of writing.
“During my visit to the Arctic, something incredible happened,” the social media video says before panning around to show the intrepid photographer indeed surrounded by a literal pack of fierce-looking and technically dangerous wolves.
@meline.wildlife Surrounded by 13 wild wolves in the Arctic
Of course, one look through the video will show that these fierce predators certainly aren’t behaving as dangerous as their reputation may indicate.
In one shot, one of the wolves “menacingly” puts its front paws forward as it stretches its back. Other shots showed the wolves all together howling, tails wagging.
Olaf, a 9-month-old Arctic wolf, is pictured inside an open-air enclosure at the Royev Ruchey Zoo in Krasnoyarsk, Russia January 11, 2019. (credit: REUTERS/ILYA NAYMUSHIN)And in another shot, a wolf assumes what must be some sort of devious hunting position by rolling around on its back, paws tucked in, and fearsome belly exposed.
Surrounded by wolves: What does the Internet say?
In the comments on TikTok, viewers expressed some of their shocked and horrified thoughts at this sight of pure terror.
“Look at all those good doggos!!” one commenter wrote. “I’ve experienced wolves howling and I bet that was the most magical moment.”
A third commenter stated, “My toxic trait is I’d pretend I tamed them and now I’m the goddess of wolves.”
“If not friend, why friend-shaped?” pondered another viewer.
“They were letting all the other wolves know you’re a homie,” said another.
Several commentators also pled with Ellwanger, praying she had the foresight to shout “BIG STRETCH” at the first wolf she cut to in her video. Another viewer asked if she had found the three wolves in the famous laughing wolves Internet meme.
Other commenters legitimately described how terrifying the situation must have been.
“Isn’t this an ambush?” asked one viewer.
“Am I the only one who would run for her life?” asked another. “I mean they are fluffy, yes, but they are wolves.”
