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San Juan Island Residents Are at War with Wildlife Photographers

San Juan Island Residents Are at War with Wildlife Photographers
San Juan Island Foxes
Image credit: © Glenn Nelson / trailposse.com

A years-long conflict has been brewing on the picturesque San Juan Island in northwestern Washington, and photographers are taking unwarranted and unreasonable heat for their alleged role in the tension.

Core to the story are the island’s photogenic red foxes. However, they are not the whole story. The fluffy and charismatic canids seem much more like the poster child for a campaign against change, a desire for seclusion, and a battle for ownership over a place and protecting what that place represents for the people who live there.

Glenn Nelson has spent the past two years visiting San Juan Island and San Juan Island National Historical Park, getting to the bottom of what he calls “the fox war.” In his brilliant special report for The Seattle Times, Nelson details the island’s fascinating history, rich ecosystem, and how some people’s animosity toward photographers outpaces any semblance of reason.

Nelson is a former Seattle Times reporter, founder of The Trail Posse, community director at Birds Connect Seattle — the first Audubon in the United States to discard its slave-owning namesake — and an avid photojournalist.

Viral Fox Photo Sets Off a Chain Reaction

Before discussing the uncomfortable reality of San Juan Island today, it is worth taking a detour to five years ago because, as Nelson writes, “Nature photographer Kevin Ebi of Lynnwood arguably but unwittingly touched off this ongoing drama.”

San Juan Island Foxes
This incredible photo from San Juan Island went viral in 2018 and sent photographers to the beautiful island in droves. | Credit: © Kevin Ebi

“While photographing the non-native foxes in San Juan Island National Historical Park on San Juan Island in Washington state, Ebi spotted a young red fox carrying a rabbit it had caught across a meadow. As he panned his camera to follow that fox, a bald eagle suddenly swooped in from behind Ebi and grabbed the rabbit while it was in the fox’s mouth,” Michael Zhang wrote on PetaPixel in 2018.

The photo went viral, and the ears of nature and wildlife photographers worldwide perked up: Incredible wildlife in a beautiful location. What more could any photographer want? Predictably, droves of photographers soon flocked to San Juan Island, much to the dismay of its residents.

A Changing Island Falls into Conflict

PetaPixel chatted with Nelson about his story and the situation on San Juan Island. From everything he describes, the foxes seem like the cute face of a local campaign against change and development.

“What seems actually in jeopardy, for the island’s residents as well as its national park, is a quiet existence that their relative isolation once seemed to guarantee. And so the sensitive habitat that off-island photographers actually might be encroaching — at least, symbolically — is that belonging to people, not foxes,” writes Nelson.

It is worth mentioning that the red foxes on San Juan Island are not native. They were introduced sometime in the 20th century — reportedly sometime between 1930 and 1960 — to control a massive rabbit population, which itself is a non-native inhabitant of San Juan Island. It is believed that domestic rabbits were released in the late 19th century to create a food source for lighthouse keepers.

That the red foxes that roam San Juan Island in huge numbers now are the descendants of non-native species has no bearing on their being worthy of protection, of course. Still, it is not evident that the red fox population there needs any protection.

“Though a national park representative declared on regional television that, ‘The island’s beloved red foxes are in jeopardy,’ there is little to no evidence to support that claim,” Nelson writes.

A ‘Fox Brigade’ Battles Shutterbugs

Advocating on behalf of the island’s foxes, Kyle Kittoe was a member of the Fox Brigade, a volunteer group that aimed to teach park visitors about the red foxes and how to observe them safely. The Fox Brigade has since disbanded, only to be replaced by a new volunteer group, Prairie Ambassadors, that appear to occupy a similar role as the defunct Fox Brigade.

“These critters live on the edge of survival. They need time and space to live their lives. And if you’re intruding on it, it makes it harder for them,” Kittoe says, citing times he has witnessed “20 people” within “20 feet” of fox kits and their mom.

However, Nelson himself has observed a very different reality.

“After that initial vacation [in April 2022], I returned to San Juan Island eight more times for multiple-day visits. I observed residents, social-media influencers, local media, and national park staff and volunteers disrupting (or fanning talk about disrupting) photographers and other perceived off-island transgressors. Island residents were observed, and photographed, feeding hot dogs and chicken wings to foxes, unleashing dogs and firing air horns into dens, then using social media to blame such tactics on photographers trying to get better pictures,” Nelson writes.

He notes that on at least three occasions during just the first two weeks of May 2022, photographers called the police concerning incidents with locals.

Photographers Face the Ire of Residents

The people of San Juan Island must love wildlife. After all, people are harassing photographers, bullying them off the island entirely, claiming that the island’s foxes need protection from dastardly outsiders and their telephoto lenses.

The situation is so much murkier than that.

The park’s superintendent, Elexis J. Fredy, acknowledges that the photographers that come to the park to photograph its beautiful foxes are possibly being cast as the collective boogeyman for the people who live — or just vacation — on San Juan Island and who hate how the island has changed.

As has been the case with many national parks, visitor numbers to San Juan Island National Historical Park have skyrocketed in recent years, buoyed mainly by people wanting to go somewhere relatively remote and safe during the pandemic.

The quiet people sought when moving to San Juan Island, the same peace people want to experience as tourists, has been disrupted.

Whether photographers are more disruptive than any other visitors to San Juan Island, they are by far the easiest to spot and, therefore, the easiest to target.

“Locals have been singling out one user group [fox photographers] that maybe doesn’t deserve it,” Amy Nesler of the San Juan Islands Visitors Bureau tells Nelson.

Are Foxes Actually in Danger?

Foxes might actually be in danger, but not from photographers.

Photographer Max Waugh has a Commercial Use Authorization (CUA) to host guided workshops at San Juan National Historical Park and held tours in 2019 and intended to continue to do so last year when the park fully opened following the pandemic.

However, as Waugh writes on his website, anti-photographer regulations and sentiment resulted in him canceling a pair of sold-out tours.

An updated park map was created following a town hall meeting in March 2022. The revised map closed off access to the famous fox-filled prairie at American Camp and restricted visitor access to roads and trails.

“This change has effectively moved photographers back at least 100 yards, on average, from the clearest, most reliable places to photograph kits, and eliminates any ability for people to change viewing or shooting angles,” Waugh explains.

“I felt compelled to cancel my tours, since the new regulations ensured we would lack sufficient viewing and photography opportunities to make my own tour offerings worthwhile for clients (most reports from folks who have been to the island recently to check out the new situation back up this assertion). It’s important to point out, of course, that this was my decision based on my own goals for the experience I desired my clients to have. Some photographers may still deem the new situation to be adequate for their own goals (I’ve heard from a couple), while others are likely to feel this greatly hampers their ability to have or lead a successful trip,” he adds.

2022 came and went, and Waugh did not lead his photo tours on San Juan Island. The park’s regulations, which sought to protect the foxes, did impact the island’s fox population.

“Two things immediately occurred as folks arrived at the area now closed to public access. First, the Bald Eagles came in and hunted the fox kits in the prairie. As was the case in 2020 (when the area was devoid of tourists due to COVID), the raptors were emboldened by the lack of people in the field. Some photographers were lucky to be on hand to document eagles flying away with kits, but soon there were no kits left,” Waugh writes.

The second problem is that people found a den site unaffected by the park’s regulatory changes. Many people crowded the den because it was the only chance to see foxes. This is where the hot dogs and chicken legs that Nelson mentions were doled out — again, not by photographers.

“Photographers referred to by locals as the ‘Foxerazzi’ are arriving on the island in large groups of around 20. The groups encircle fox dens at the height of kitting season in the hopes of snagging the perfect shot, but that pursuit has a price…At the start of this past spring, there were six fox kits living at Cattle Point Nature Preserve. By the end of the season, all six were dead,” writes KIRO 7, implying that photographers are to blame. The article does not discuss the dead kits that eagles nabbed.

“Red foxes can do quite well from being in close proximity to us,” David Drake, a professor of wildlife ecology at the University of Wisconsin-Madison, tells Nelson. “When they move into an urban environment, they are well aware that there’s a density of people and that activity patterns of people are different than for nonurban areas. There’s more light pollution, more noise, more human activity — and they adapt. The red fox can benefit from being near people because there might be refuge from predators, and they are likely getting some type of food resource that is both natural and might be even provided. There’s also a lot of different types of shelter availability,” Drake explains.

Some claim that a fed fox is a dead fox. It seems that a distanced fox may be a dead fox, too.

The bald eagles that feast on foxes are a protected species. San Juan Island is home to a second protected species, the island marble butterfly. As Nelson tells PetaPixel, not only is San Juan Island the only place in the world where this exceptional butterfly lives, but it seems that the people who purport to care so deeply for the red foxes seem to very rarely, if ever, mention the butterflies.

Contradictory Motivations on San Juan Island

The story of San Juan Island and the so-called “fox war” is fascinating for many reasons. There is the intriguing photography angle, of course, but the situation there also reflects society at large. Whenever an area experiences change, it affects different groups of people in highly varied ways.

Some of the island’s residents live there because they want to be somewhere remote and alone, able to enjoy their beautiful backyards in peace. Others rely on tourism to survive and make more money when people visit the island in greater numbers.

As for the park, the staff is caught in between feuding parties. On the one hand, any good park ranger wants to be able to safely share everything the park has to offer with as many visitors as possible. But for Fredy, maintaining a strong relationship with neighbors matters too.

When it comes to photographers specifically, there is no question that some of them do behave poorly. Despite the National Park Service’s very clear and reasonable advice concerning ethical wildlife viewing, including the rule that visitors must always stay at least 75 feet away from animals, some people still behave recklessly and stress out wildlife.

However, it is difficult to believe that irresponsible visitors are anything but few and far between, and they are not exclusively photographers.

Wildlife photography is an incredible way for people to enjoy nature, learn about animals, and share their passion for conservation with others. Great photos inspire and educate. A beautiful wildlife image should always be the result of care and respect. Anything else is wrong and should be discouraged and punished.

But blaming photographers for everything is preposterous and detached from reality.

While people scream at photographers, a bald eagle swoops and grabs a newborn fox. As park staff erect new entry barriers, another kit is dragged to its death. When one local blames photographers for hand-feeding foxes and laying bait, another local drops a hot dog from their pocket, ready to point at the nearest person with a big lens, “See, look, we told you!”

Where there are people, there will be bad apples. It is an unfortunate and unavoidable reality of living in any society. However, the trees from which these bad apples fall may be much closer to home than people want to admit.


Image credits: Featured image © Glenn Nelson. Many more of Nelson’s red fox photos are available on The Trail Posse’s website.

10 Jaw-Dropping Modern A-Frame Homes That Redefine Architecture

10 Jaw-Dropping Modern A-Frame Homes That Redefine Architecture

Located in Snoqualmie Pass in The Pass Life community in Washington State, 160 Cascade is a prefab A-frame designed by Stephenson Collective and built by Buildhouse. The 1,721-square-foot cabin embraces modern mountain living with stunning views of the surrounding area full of evergreens.

Photo: Jakub Skokan and Martin Tůma of BoysPlayNice

The Weekend House in Beskydy, located in the Beskydy Mountains in the Czech Republic, is designed by Pavel Míček Architects to blend into its mountainous location while also proudly showing off its angular design. Choosing both heavy and light materials, the house is built with a concrete base that will eventually be covered in moss and a lightweight larch wood A-frame top floor that will slowly patina to a grey-silver.

exterior shot of angular a-frame cabin in light wood with white accents surrounding by snowy trees

Photo: Courtesy Scott and Scott Architects

This modern A-frame cabin, by Scott and Scott Architects, is designed for a family of snowboarders who longed for a weekend retreat in Whistler, Canada. The cabin is built into the bluff with an exposed frame of local Douglas fir, offering coziness within its snowy backdrop.

Cabin A, by Bourgeois / Lechasseur architectes, rests on a steep slope in the Charlevoix region with an A-frame design that gives nod to naval architecture. The triangular roof gives nod to sails in the wind, while the large wooden covered terrace references the upper deck on a ship.

Angled exterior view from lake looking to black a-frame elevated cabin jutting out from trees

Photo: Ian Balmorel

Located in the Eastern Townships, near Montréal, Chalet A is a 1950’s property that’s been renovated by Matière Première Architecture into a modern cabin on the lake that peeps out from the evergreen forest. The A-frame silhouette is clad in black metal roofing, while the interior boasts shades of white and sage for a cozy, relaxed feel.

Quite possibly one of the most unique A-frames out there, the PAN Cabin in Hedmark, Norway, designed by Espen Surnevik, lives on stilts raising the structure high up to live amongst the treetops. With views in every direction, this cabin rental makes you feel like you’re camping in a comfortable hotel in the forest.

With strict building codes to follow, NODE architectes designed a modern white A-frame that blends into its Arradon, France neighborhood. The POG House, plastered with white masonry and topped off with a dark aluminum roof, stands out with its dramatically sloped to 60 degrees roof line.

AR Design Studio designed The Climber’s Cabin in southern England on property where the forest and stream meet. Standing at approximately 269 square feet, the A-frame structure was built to house guests on a homeowner’s property offering a tranquil spot to escape to while visiting.

exterior view of modern black a-frame house with side extension and deck with dining table

Photo: Mick Couwenbergh

Belgian firm dmvA renovated and designed an addition to a black A-frame vacation house in Brecht, Belgium, that resulted in a trapezoid-like form extending off the main structure. The extension added much needed square footage while respecting the original design.

angled elevated exterior view of modern all-white a-frame house in Japan

Photo: Toshiyuki Yano

Located in Tochigi, Japan, the House in Utsunomiya is a unique A-frame designed by Suppose Design Office with strategically placed openings along both sides of the roof. The cutouts bring natural light to the interior without compromising privacy, along with a rooftop deck that also allows the occupants outdoor time without prying eyes.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

Photographer turns moments into memories

Photographer turns moments into memories
image

Most second graders don’t know what they want to do with their lives, but that wasn’t the case for Scott Areman.

Most people also don’t associate a science fair with fine art, but Areman has always seen the world a little differently than most. His keen eye and love for photography developed at an early age.

Here’s What’s Going in Indian Country, August 11

Here’s What’s Going in Indian Country, August 11
This weekend and next week in Indian Country, there is an array of concerts, webinars, festivals and more for all to enjoy.
The Anti-Racism Lab is hosting an online event on using Indigenous fire practices to reclaim culture and fight climate change. Join the New Mexico History Museum for a special showcase of Native cinema, or livestream a performance from Brulé, the Native American cultural rock music group that has sold more than a million CDs worldwide.

Here is Native News Online’s weekly round-up of arts, culture, and entertainment offerings around Indian Country.

Never miss Indian Country’s biggest stories and breaking news. Sign up to get our reporting sent straight to your inbox every weekday morning. 

  

Youth GONA in the “D”
Friday, August 11- Sunday, August 13, 2023
Detroit, MI

Consider taking your youth to this event focused on gathering Native American youth together in order to learn about belonging, mastery, and interdependence. The event is free to any youth and their family who stays in the hotel, and anyone under 18 must be accompanied by a parent. 

In The Spirit Arts Market and Northwest Native Festival
Saturday, August 12, 2023, 10 am – 5 pm
Tacoma, WA

This event is an arts market and Northwest Native Festival, an annual summer celebration of diverse Native arts and culture. This festival is hosted by the Washington State History Museum, Tacoma Art Museum, and Museum of Glass. Consider enjoying the event by shopping among and talking with artist vendors, listening to Native music, watching dynamic cultural dance, making art, exploring exhibitions and more.

Hawk Henries, Native American Flute Player
Saturday, August 12, 3 pm-4 pm
UMF Ampitheater, Farmington, ME

Hawk Henries is a member of the Chaubunagungamaug band of Nipmuck, a people indigenous to what is now Southern New England. He has been composing original music and making Eastern Woodlands flutes using hand tools for more than 30 years. 

National Navajo Code Talkers Day in the United States
August 14, 2023
United States

National Navajo Code Talkers Day is observed annually on August 14. It was first proclaimed in 1982 to honor the contributions of the Natives who served in the US military during the Second World War, using the Navajo language to support the war effort.

Native American Dances with Catching Eagle Dancers
Tuesday, August 15, 2023, 9 am-Noon
Cortez Cultural Center, Cortez, CO

Free Native American Cultural Dance program with Catching Eagle Dancers from the Ute Mountain Towaoc, Colorado. Multigenerational dance performances ensure that the Ute tradition of storytelling, drumming, singing and dancing continues and thrives.

Native American Youth Basketball Camp
August 16-17
Great Falls, MT

Strong Life Basketball Camp is to teach campers enhanced basketball skills that will lead them to be better players both on and off the basketball court. We’ve put together a world-class team of coaches from both the high school and college ranks that will help you elevate your game while building confidence as a player and individual.

Brulé: Native American Experience in Sight, Sound & Soul
Sunday, August 13, 8:30 am
Online

Best known for thrilling audiences with an emergence of cultural rock and theatrical instrumentations, award-winning music group Brulé has pushed the boundaries of contemporary Native American rhythms and classic rock in their genre-blending selections. Their electrifying show consists of a rock ensemble augmented with an array of traditional Native American instrumentation. Paired with the stunning choreography of one of the top Native American dance troupes, their authenticity brings a multi-dimensional art form to this cultural rock opera. 

Decolonizing Fire: Indigenous Land Stewardship and Climate Futurity
Tuesday, August 15, 9 pm-10 pm
Online 

Climate change has been identified as a key factor in increasing the risk and extent of wildfires in the Western United States. Wildfires in California can be traced to the roots of colonialism through the establishment and persistence of “no burn” policies. Agencies have recognized the detrimental effects of fire suppression on ecosystems, and scholars have emphasized the need for climate adaptation partnerships with Indigenous communities. However, we are asking the same agencies that created the problem to be responsible for the solution. This talk will centralize the significance of working with Indigenous fire practitioners and cultural bearers to reclaim cultural practices in Northern California and now in the Midwest area of the United States. These demonstrations edify decolonial approaches to fire practices, land care, and Indigenous ecological intelligence towards our collective climate futurity.

The Education and Well-Being of Native Students
Tuesday, August 15, Noon
Online 

This webinar aims to address the unique challenges faced by Native students and explore strategies to enhance their educational experiences and overall well-being. We have assembled a panel of experts, educators, and community leaders who will share their insights, experiences, and best practices. Participants will have the chance to connect, exchange ideas, and gain valuable resources to support Native students’ success. Whether you are a student, educator, parent, or community member, this event is open to all passionate about improving the education system for Native students. 

Native Cinema Showcase Santa Fe 
Thursday, August 17-Sunday, August 20
New Mexico History Museum, Sante Fe

The National Museum of the American Indian’s Native Cinema Showcase is an annual celebration of the best in Native film. This year, the Showcase highlights films of Indigenous perseverance that inspire, uplift, and triumph against adversity—stories that prevail against the judicial system, generational trauma, and cultural appropriation through love and complex relationships, self-worth, and humor.

More Stories Like This

Robbie Robertson, of The Band, and Mohawk and Cayuga descent, Dies at 80
First-Ever Santa Fe Native Fashion Week Scheduled to Debut Next Spring
Legendary Native American Singer Buffy St. Marie Retires from Live Performances
Here’s What’s Going in Indian Country, Aug. 3 — 13

Native News is free to read.

We hope you enjoyed the story you’ve just read. For the past dozen years, we’ve covered the most important news stories that are usually overlooked by other media. From the protests at Standing Rock and the rise of the American Indian Movement (AIM), to the ongoing epidemic of Murdered and Missing Indigenous People (MMIP) and the past-due reckoning related to assimilation, cultural genocide and Indian Boarding Schools.

Our news is free for everyone to read, but it is not free to produce. That’s why we’re asking you to make a donation to help support our efforts. Any contribution — big or small — helps.  Most readers donate between $10 and $25 to help us cover the costs of salaries, travel and maintaining our digital platforms. If you’re in a position to do so, we ask you to consider making a recurring donation of $12 per month to join the Founder’s Circle. All donations help us remain a force for change in Indian Country and tell the stories that are so often ignored, erased or overlooked.

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Native News Online is one of the most-read publications covering Indian Country and the news that matters to American Indians, Alaska Natives and other Indigenous people. Reach out to us at [email protected].


Today’s Photo from Ted Grussing Photography: A Spring Morning

Today’s Photo from Ted Grussing Photography: A Spring Morning

… a look back on a beautiful Spring morning on the Colorado Plateau at 8272 feet MSL, located just west of SR 89A a mile or so above the switchbacks and looking NNE. The lakes in the meadows in the foreground are from snowmelt … normally this entire area is a dry meadow. Above this you can just make out Rogers Lake and slightly above that and a little to the right is A-1 Crater looming up in front of the San Francisco Peaks which dominate the skyline. Earth’s surface directly below me is about 6800 feet MSL. The peaks from left to right are Humphreys Peak in the clouds and topping out at 12, 637 feet MSL, then Agassiz a few hundred feet lower … continuing we have Doyle, Fremont and finally Shultz Peak. Currently I am combing through old photos of Shultz Peak to find the remnants of a structure that Lowell Observatory built on it. Rich kind of sees it in one of my photos, but I know I have better as I used to dive into the Inner Basin flying between Fremont and Shultz Peaks whilst taking pictures 🙂

Below we have a Black Hawk that was heading into Bubbling Ponds Hatchery for an early dinner … they are so amazing to see in flight!

Spent a fair amount of time with support staff of a software company I use … trying to make a legacy program work on this computer that worked on my old one … honestly it looks like it will not work, so I may have to uninstall it and it is one that I used a lot … oh well, back to my manual way of working on backgrounds I want to alter a bit.

Into the weekend for me, so enjoy your days and keep living and enjoying what each day brings you … be kind and smile … and keep breathing!

Cheers,

Ted

Love some one—in God’s name love some one—
for this is the bread of the inner life, without which
a part of you will starve and die; and though you feel
you must be stern, even hard, in your life of affairs,
make for yourself at least a little corner, somewhere
in the great world, where you may unbosom and be kind.

Love Some One by Max Ehrmann

###

photo_tedgrussingThe easiest way to reach Mr. Grussing is by email: ted@tedgrussing.com

In addition to sales of photographs already taken Ted does special shoots for patrons on request and also does air-to-air photography for those who want photographs of their airplanes in flight. All special photographic sessions are billed on an hourly basis.

Ted also does one-on-one workshops for those interested in learning the techniques he uses.  By special arrangement Ted will do one-on-one aerial photography workshops which will include actual photo sessions in the air.

More about Ted Grussing


Healing Paws

Healing Paws

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Photographer Travels 10,000 Miles to Capture Stunning Photo of the Entire Milky Way Galaxy

Photographer Travels 10,000 Miles to Capture Stunning Photo of the Entire Milky Way Galaxy
Milky Way Galaxy
The entire Milky Way Galaxy as seen from the Maldives.

Backyard astrophotographer Andrew McCarthy has always wanted to get a shot of the entire Milky Way Galaxy, but living in Arizona makes it impossible.

The light pollution coupled with the Arizonian latitudinal position prevents McCarty from getting the shot he wanted. To rectify this, the intrepid photographer caught multiple international flights to arrive on a small island in the Maldives — an archipelago in the Indian Ocean.

From this position near the equator, McCarthy finally got the incredible image he had been looking for — an unobstructed, detailed view of the entire Milky Way Galaxy.

“Unfortunately living in a suburban neighborhood prevents high-quality photos of the Milky Way, which you need dark skies for,” explains McCarthy.

“At my latitude here in the United States, the bulge of Earth’s curvature blocks much of the Milky Way. There is an entire southern portion that can’t be seen. Capturing that was a large part of my goal with this image.”

Milky Way Galaxy
Zoomed in detail of the enormous photo.

To get to his desired location, McCarthy took multiple airplanes, including a seaplane and a small boat, to reach his destination.

“I packed a compact version of my big equipment at home to do this. I wanted to take a photo that was uncompromising on detail, so I brought specially designed astrophotography cameras, lenses, and trackers that would allow me to shoot it in much more detail than otherwise possible,” he explains.

Shooting the Milky Way Galaxy
Capturing the Milky Way from the Maldives.

Once at the location, McCarthy spent two weeks under the stars capturing thousands of photos of the Milky Way.

“The camera lens I used only covered a small part of the Milky Way, so I had to capture the photo in many ‘panels’ to create the final image,” he says.

“This was necessary to produce the detail I wanted and to avoid the distortion that usually comes from using wide-angle lenses.”

Milky Way Galaxy

Milky Way Galaxy

McCarthy was tested during the fortnight with bad weather and clouds hampering his effort. But the photographer says the final image has exceeded all expectations.

“Throughout human history, humans have been able to look up into our home galaxy. From contemplating the stars we developed religion, navigation, and arts,” McCarthy reflects.

“Much of where we are today can be attributed to the minds of ancient thinkers pondering our place under the starry sky.

“While civilization has improved our lives in immeasurable ways, we lost our perspective. Light pollution has taken that perspective from 60% of Europeans and 80% of Americans, depriving us of any insights we could have had from peering into the infinite swirls of starlight.

“My goal is for my images to inspire people the way it inspired our ancestors, so we can recover some of what we’ve lost.”

McCarthy has named his creation em> Backbone of Night and it is avaiable as a limited print on his website.

More of McCarthy’s work can be found on his Instagram, X, Facebook, and website.


Image credits: All photos by Andrew McCarthy.

What I’m Looking at: Odd Apparitions at White Columns, Google’s Art Market Hallucination, and Other Things at the Edge of Art

What I’m Looking at: Odd Apparitions at White Columns, Google’s Art Market Hallucination, and Other Things at the Edge of Art

“What I’m Looking at” is a monthly column where I digest art worth seeing, writings worth consuming, and other tidbits. Below, thoughts from the first weeks of July 2023.

Unplaceable Goodness

This one-gallery White Columns survey of the recent output of the well-regarded Brooklyn-based sculptor Carol Bruns (b. 1943) makes me think of ghosts. Not just because these sculptures are mainly all in ghostly white, but because ghosts are border characters, between alive and dead. And I take the attempt to achieve a kind of eerie, resonant in-between-ness to be where Bruns’s head is at.

Bruns’s sculptures are in-between in at least three ways. First, in that they are made with found materials, and both show it and don’t show it—you can sense the underlying forms of Styrofoam pieces or pipes found on the street, but Bruns has semi-finished them in white plaster and paint so that they hold together into one, gawky form. Second, they are in-between in that they conjure faces and figures, but always in a not-quite-there way, the final form being half-creaturely, half-object-like. And, finally and most subtly, they are in-between in emotional tone: Are these mask-like reliefs and sculptures spooky or lovable? They exist just at the point where you have to project into them, and they shift states if you stay with them.

There’s a lot of control in holding all these levels of irresolution together at once in an artwork. And if you let yourself steep in Bruns’s show, it’s mind-expanding. (On view through August 26.)

Carol Bruns, Archaic Man, New Man (2021), Fox Totem, Techno Man II, and Techno Man

Carol Bruns, Archaic Man, New Man (2021), Fox Totem (2022), Techno Man II (2022), and Techno Man (2022). Photo by Ben Davis.

Carol Bruns, Guardian (2022), The Afflicted Man (2023), and The Third Eye (2021)

Carol Bruns, Guardian (2022), The Afflicted Man (2023), and The Third Eye (2021). Photo by Ben Davis.

Carol Bruns, Fringe Elements (2023)

Carol Bruns, Fringe Elements (2023). Photo by Ben Davis.

SCRY Movie (and Paintings)

There’s more unsettled-ness in Rachel Rossin’s “SCRY” (through August 11 at Magenta Plains)—it’s almost like we live in a time where things feel really uneasy and unresolved!

The literal centerpiece of this show is The Maw of, a LED tondo (part of a project also seen at the Whitney last year and, to crowds, in Berlin). Hung on the ceiling, it radiates a digital glow over everything, playing out a broken, elliptical narrative featuring fragments of an anime girl, animated diagrams, landscapes, and data clusters. The uneasy sense Rossin creates is something like a kind of cyborg consciousness either on the cusp of being born or in the throes of dying.

The suite of paintings hung around the gallery manifest shadowy figures that look alternatively like mechs and angels (or mecha-angels?), based, I gather, on Rossin’s childhood drawings. They capture a similar mood to the LED work, like some kind of sinister memory or liberating epiphany in formation. The miasmic quality of The Maw of is mirrored in the shifting layers of the marks in the paint, as if the canvas was some kind of visual receiver that was being tuned, and alien transmissions were veering into focus through the static.

The painting-on-canvas and the digital-art parts of the show fit together a little unstably, but I realized that this is also part of the whole idea of “SCRY”: The space between the mediums was also the space between different forms of consciousness; it feels as if a new hybrid art is wrestling to be born, either drawing painting and digital-art together, or thwarted by the air-gap between them.

“Rachel Rossin: SCRY” at Magenta Plains. Photo by Ben Davis.

Rachel Rossin, The Maw of (2022)

Rachel Rossin, The Maw of (2022) at Magenta Plains. Photo by Ben Davis.

Rachel Rossin, haha. Regarding states of looking back (2023

Rachel Rossin, haha. Regarding states of looking back (2023). Photo by Ben Davis.

The Weed Pot Avant-Garde

“No secret, just work.” So said the late art ceramicist Doyle Lane (1923–2002) when asked about the secret of his glazes, in an interview that was displayed in a vitrine near the entrance of David Kordansky for this show (which closed, lamentably, before I could get my act together to write this). His “Weed Pots” from the ’60 and ‘70s (no, not that kind of weed; it’s a term for a vessel meant to display a leaf of grass or a sprig of wheat or the like) are individually great. Each is a tiny, complete, confident thing, exploring color or texture.

But—credit where credit is due—the display of 100 Lane-made weed pots at Kordansky (including one that came from the collection of the great painter Charles White) by artist-curator Ricky Swallow was greater than the sum of its parts. It gave a sense, via the clarity of its juxtapositions, of how much delightful variation Lane was able to create within a sober, gimmick-free commitment to craft fundamentals.

Installation view of

Installation view of “Doyle Lane: Weed Pots” at David Kordansky Gallery. Photo by Ben Davis.

Installation view of

Installation view of “Doyle Lane: Weed Pots.” Photo by Ben Davis.

Display of material relating to the life of Doyle Lane at David Kordansky.

Display of material relating to the life of Doyle Lane at David Kordansky. Photo by Ben Davis.

The “Aesthetic Turn” Gathers Force…

The best thing to read of the last few weeks is definitely “On the Aesthetic Turn” by Anastasia Berg, the scene-setter for The Point’s summer issue on the question “What Is Beauty For?” (the issue also has a bunch of good essays in it). “The critical tide is turning, once again,” she wrote. In my own review of the mess that is “It’s Pablo-matic” at the Brooklyn Museum, I talked about how we were at an inflection point, where the “moralism” that has been dominant for the better part of a decade in culture writing was increasingly uncool. Berg’s “On the Aesthetic Turn” surveys the different types of positions people are taking as they respond to this shift, while also noting that what this “aesthetic turn” means remains somewhat unsettled, more a negative rejection of a dominant style than a new consensus (for this reason, I would call the new style “anti-moralism” rather than an “aesthetic turn,” personally).

Berg’s essay inspires three (very-compressed) thoughts.

“The critics of self-righteousness and trauma mongering are for the most part not calling for a return to the amoral ironism that governed the Nineties and early Aughts—the sensibility that surely gave rise, at least in part, to the overgrowth of didacticism that followed,” Berg wrote. My first thought is that, yes, I think that’s true—but also, in part, there is definitely a contingent that wants exactly a return to amoral ironism. So any argument for an “aesthetic turn” has to be centrally about distinguishing itself, not just from “moralism” but from “bad aestheticism.”

Second, the opposition between “moralism” and “aestheticism” is unstable. As Berg wrote, “In the very way we have posed the question—what is beauty for?—the magazine signals agreement in at least one regard with the moralizers about art: art and beatify must in some sense be salutary.” That is, arguments for the value of aesthetic complexity are often about acknowledging real human complexity, or taking a stand against the instrumentalization of art, or other goals that arrive at a moral or political project by another door. Meanwhile, there’s a coded aesthetic dimension to the “moral” lens on art too: Clear, direct, socially resonant, even overtly didactic art can feel fresh and original (aesthetic virtues) against the background of a lot of over-refined, deliberately obscure stuff, where it stands out as different (which, in turn, is part of where ideas about “performative activism” come from—essentially the accusation that a righteous cultural posture is merely aesthetic).

Third (and following from the second), critical insight has to be located at a level above the “moralism” versus “aesthetics” debate. You can’t actually pick a right side in that fight, because the sides have an elastic and overlapping relationship to one another. It is more a matter of local and specific calculations, and how different values are being put to work or combined at a given time and place than it is of right and wrong sides. Critics need specific historical arguments rather than overall theoretical defenses of “the aesthetic” or “the political” or whatever. Framing the matter in terms of sides tends to feed the unhelpful polarization and oscillation between the two, where, for instance, what is really a rejection of sloppy, superficial moralizing becomes conflated with an attack on any moral claims on art, in general.

That’s my three cents on that.

The cover of The Point, issue 30.

The cover of The Point, issue 30.

Holographic Media and Target Modernism

Two other things to read…

It’s a couple of months old now already, but I just caught this banger of an essay by Caroline Busta and Lil Internet (of New Models fame) on Outland, “Holographic Media.” Looking at the evolution of media—art-based and otherwise—Busta/Internet offer a kind of combined manifesto and prophecy of what comes next, spinning out the implications of the increasing realization that authentic-feeling culture has to exist outside of the big tech platforms if it is to survive.

There’s a lot in their analysis, from their prognosis that “community itself becomes a form of media” to their prediction of the great “Voiding of the Mid”: “Younger generations are already suffering from Mid-exhaustion as endless culture-warring and grandstanding didacticism have made “👏using 👏your👏voice” on social media seem extremely cringe.” It’s all worth chewing on.

Warhol-inspired products on view inside a pop-up Target

Warhol-inspired products on view inside a pop-up Target. (Photo by Mark Von Holden/WireImage)

Finally, speaking of “the Mid”… check out Molly Osberg’s essay from July on art grads putting their skills to use in the alternate-universe art world dedicated to hotel and office art. Among other things, it teases out a telling turn towards “unique” experiences in mass-ified consumer design, and gives you the category of “Target modern” to think about. Above all, it’s a lot of fun:

These jobs are often to graft together art-world concepts—”modern,” “impressionistic”—and the kinds of adjectives brand managers favor like “gritty” or “airy” or “classic.” In less ambitious settings, the goal is to create something that telegraphs the idea of art without the potentially alienating qualities of an actual piece. Abstract works are popular for this reason: They communicate a vague sense of design history without much in the way of a specific point. Also, the piece has to complement a particular shade of paint.

La Grande Mistake

Just to see how it works, I’ve enabled Google’s A.I.-enabled Search queries—the giant corporation’s latest endeavor to slurp all the value of the internet into its own gullet, and leave as little as possible for anyone else. I find these A.I.-enabled little summaries mainly annoying.

But at least this query for Seurat’s Sunday Afternoon on the Island of La Grande Jatte informs me of this huge piece of recent art-market news that I have somehow missed.

Page of Google A.I.-enabled search results for

Page of Google A.I.-enabled search results for “Sunday Afternoon on the Island of La Grande Jatte.”

A real loss for Chicago!

And even so, it looks like the Art Institute of Chicago got really ripped off. Because if I try again with Google’s A.I., it tells me that Seurat’s painting has been valued at a whopping $650 million!

Page of Google A.I.-enabled search results for

Page of Google A.I.-enabled search results for “Sunday Afternoon on the Island of La Grande Jatte.”

The very-specific number for the almost-certainly-priceless painting comes from a light-hearted and unscientific thought experiment in a post by Evan Beard, speculating on what the uber-rich might pay for major masterpieces. It illustrates Google A.I.’s habit of yoinking sources and remixing them in its own language—in this case stealing Beard’s fun speculations while mangling the fact that they were either fun or speculative.

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