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Spellbinding Night Photography from Around the World

Spellbinding Night Photography from Around the World
Corvus © Beth Moon

From the historic archives of NASA to the edges of the planet Earth, this collection of extraordinary night photography explores the magical reaches of the starry sky. Travel across Finnish Lapland, through the American West, to the ancient landscapes of Botswana, across the deserts of Sinai and Israel, and up through the mountains of Alaska.

The Small Magellanic Cloud is a dwarf galaxy that flanks the Milky Way about 210,000 light years away from us.

This 2013 composite image of the galaxy’s wing shows a region with stars containing fewer metals and less dust and gas than the Milky Way. The Chandra’s X-ray data is shown in purple, while visible data from the Hubble Space Telescope is shown in red, green, and blue. Infrared data from the Spitzer Space Telescope is also revealed in red.

From from Earth and Space: Photographs from the Archives of NASA by Nirmala Nataraj, published by Chronicle Books, 2015.

Earth and Space by Chronicle Books is a collection of the most unforgettable photos from NASA’s treasured archives. Prefaced by Bill Nye of Science Guy stardom and introduced by author Nirmala Nataraj, Earth and Space takes our planet as its point of departure, moving sequentially through the universe and ultimately resting on clusters of galaxies colliding at a distance of 5.4 billion light years from where we stand.

Flattop Mountain, Alaska © Kerry Tasker

“It’s almost like the environment knows you’re there but doesn’t care,” says Anchorage-based photographer Kerry Tasker of the Alaskan terrain. The land is feral and ferocious; he’s dropped his camera from a perilous cliff, and the bitter cold has annihilated its batteries. Still, he’s been torn time and again from the safety of home into the rugged wilderness, standing cold and alone, under a charcoal sky dotted with faraway stars.

Starry Grove, 1999 © Neil Folberg / Vision Neil Folberg Gallery

Under the shroud of night, Jerusalem-based photographer Neil Folberg traverses Galilee and the Negev and Sinai deserts in Israel and Egypt alone and by foot, watching as the stars and clouds dance across the sky. From the late 1990s until the early 2000s, he spent four years of sunsets and sunrises capturing the shadows as they descended silently upon the historic terrain.

© Reuben Wu

“My nights are full of silence and the occasional howl of coyote,” the photographer Reuben Wu tells me. His series Lux Noctis has taken him to some of the most isolated regions in the American West, as well as remote spots in Europe and South America, under the cover of darkness. He flies a drone to light his way, illuminating sections of the landscape at will.

© Tiina Törmänen

When she was a little girl, photographer Tiina Törmänen built castles out of snow. She spent her childhood in Finland’s Southern Lapland, surrounded by lakes and forests, and each winter, she dug tunnels, doorways, and rooms, illuminated by flickering candlelight. Winter is still her favorite season. When the snow falls, she bundles up and wanders into the unknown terrain.

Hercules © Beth Moon

The San Francisco-based photographer Beth Moon has spent more than a decade of her life hunting down our planet’s oldest trees, chasing them to their isolated and solitary bowers at the edges of civilization. After devoting fourteen years to shooting ancient trees by day, the photographer embarked on Diamond Nights, for which she captured the looming plants under the black shroud of midnight and illuminated by a dusting of twinkling stars. The darkness, she remembers, was so thick that she was unable to see her own hands.

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The Kentucky Arts Council is now taking 2023 applications for the Kentucky Crafted Program

The Kentucky Arts Council is now taking 2023 applications for the Kentucky Crafted Program
image

Kentucky Crafted is an arts marketing program that provides assistance to visual and craft artists through networking, promotional and sales opportunities and business training.

The purpose of the program is to support professional visual and craft artists and promote a diverse selection of high quality art in Kentucky. In addition to being added to the Kentucky Crafted Directory, adjudicated visual and craft artists are eligible to exhibit at the Kentucky Crafted Market and other events sponsored by the program.

Visual and craft artists who do original work in any medium, are full-time residents of Kentucky and are 18 years of age or older are eligible to apply. Applicants should have a well-developed body of work and some marketing experience.

Potential applicants should read through the complete application guidelines prior to starting their application.

The deadline to apply is Aug. 15, 2023, 4:30 p.m. Eastern time. Prior to the deadline prospective applicants are encouraged to attend one or more Q&A sessions, hosted on Zoom, where you can ask arts council staff questions about the application process. Please fill out this online form if you are interested in attending a Q&A session and we will email you information about when and how to join the conversation.

For more information about the Kentucky Crafted program, contact David Blevins at david.blevins@ky.gov or 502-892-3120.

Design Milk’s Favorites From NeoCon 2023

Design Milk’s Favorites From NeoCon 2023

We’ve already shared the Best of NeoCon winners with you, but we also wanted to put a few of our other favorites from NeoCon 2023 on your radar. Certain trends – privacy booths, acoustic walls, and the crossover between indoor and outdoor furniture – continue to gain strength, while others are newer to the industry. Small lockers had a large presence, geared toward offices without assigned desks, or those whose employees work remotely part of the time. There was also a plethora of curves throughout, including chairs, modular bench seating, lighting, and even space dividers. NeoCon 2023 was filled with so much fantastic commercial design! We’ve narrowed down the long list to ten brands and products that were real standouts.

Seen above, Andreu World’s sustainable commercial furniture always makes a statement, with plenty of beautiful seating included. I love the extra high back and sheer presence the ergonomic Capri Executive chairs hold around a conference table.

BuzziSpace

BuzziSpace continues to expand its collection of acoustic lighting. For this year’s show, the brand nested a few of its BuzziTubes concentrically on a wall, rather than suspending them from the ceiling! A statement, sculpture, and lighting all in one.

light red/pink curved bench seating with red chairs and white tables

Scandinavian Spaces

Scandinavian Spaces does curvaceous commercial furniture so well. At NeoCon, they set up a cafe of sorts with tables, chairs, and benches in one of my own personal favorite color combinations – pink and red. It’s so easy to sit and stay a while with these pieces.

two wood and felt rocking chairs with cushions

Darran

Darran makes the crossover between commercial and residential furniture look easy. The rocking version of the brand’s Dove Seating feels designed equally well for a waiting room or a living room, and I really love the way they mix and match materials.

tan and royal blue abstract room dividers

molo

Made from paper, textile, and wood, molo’s softwall and softblock were spread throughout one of the show’s floors, creating nooks for attendees to grab a bite in privacy or decompress for a moment. Flexible and stretchable, the possibilities are all but endless.

eight dining and office chairs of differing styles and colors on a podium

Falcon

Falcon’s showroom had a lot of unexpected pieces, including an outdoor dining booth, but the brand’s Sedera seating collection caught my eye. The versatile seating series includes everything from side chairs to (stackable!) counter stools, all available in a rainbow of colors and combinations.

maroon and pink room with its wall and ceiling covered in tube-like acoustic material and a chair and side table

TURF

TURF prizes the creative installations of its products as much as the lightweight panels themselves. This year, the showroom included several areas with acoustic panels mounted to the ceiling, like Reed, seen here. The brand also introduced a felt product that resembles real wood – until you touch it. (I couldn’t tell from even 3-inches away!)

white sofa with light bentwood tray/table

NaughtOne

The sleek aesthetic of NaughtOne’s wood Riley pull up table is what drew me into the brand’s showroom. I immediately began thinking of all the different ways this beauty could be used when paired with benches, sofas, and chairs.

large light pink high-back chair with half circle blue pillow

Highower

Hightower’s showroom continues to impress, year after year. I loved all of the new pieces, but the FourAll® Lounge really grabbed my attention in a room full of people. Add high back chairs to the developing trends 2023 list!

ribbon-like red bench

Schiavello

Schiavello’s Hedge Seating created a lot of talk at The Mart, and it’s abundantly clear why. The bench’s undulating foam form accommodates every type of body and – let’s be honest – it looks like it could be in a modern design museum.

Photography by Kelly Beall.

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.

Sundance Institute receives $4M for Indigenous Program – TownLift, Park City News

Sundance Institute receives $4M for Indigenous Program – TownLift, Park City News

PARK CITY, Utah — Sundance Institute recently received its most substantial endowment — a $4 million donation from Federated Indians of Graton Rancheria (FIGR) towards the Institute’s Indigenous Program. The FIGR Tribal Chairman, Greg Sarris facilitated the endowment. As a participant in Sundance Institute’s 1992 Screenwriters Lab, Sarris is well-versed in the industry.

“When I was a part of the Screenwriter’s Lab at Sundance in 1992, I witnessed firsthand the incredible support that the Institute provides to all artists, but Indigenous talent specifically,” said Greg Sarris, Tribal Chairman of the Federated Indians of Graton Rancheria in a statement on the Sundance Institute website. “We are excited to see the creative breakthroughs from future fellows and scholarship recipients. Supporting and nurturing these artists will open up pathways to success for the entire California Indigenous creative community and enable us to tell our stories.”

The Sundance Institute said the generous gift would go a long way in supporting indigenous artists from California-based tribes, whether they are federally or non-federally recognized. The Federated Indians of Graton Rancheria | Sundance Institute Endowment will allow the Sundance Institute to build on the already robust offerings available to artists through the Indigenous Program, which has been a crucial aspect of the Sundance Institute’s work since its founding in 1981.

In 1994, the Indigenous Program was officially launched, with founder Robert Redford extending an invitation to Native American filmmakers to participate in Sundance’s inaugural filmmaking lab.

Artists from California-Based Tribes can apply now through August 28, 2023, here: https://apply.sundance.org/prog/2023_sundance_institute_graton_fellowship_for_california_indian_artists/

Why a Banksy exhibition in Glasgow makes perfect sense

Why a Banksy exhibition in Glasgow makes perfect sense

A new solo exhibition by Banksy, the UK’s most famous anonymous artist, has opened at the Gallery of Modern Art (GoMA) in Glasgow – his first in 14 years.

The graffiti artist was drawn to exhibit in Glasgow ostensibly because of his interest in the symbolism of “Coneheid” – the red traffic cone permanently adorning the head of the Duke of Wellington statue that stands on a plinth outside GoMA. It is, Banksy says, his “favourite work of art in the UK”.

The show, Cut and Run, spans the career of the artist who has been described as “notoriously cryptic, darkly humorous … a global phenomenon, a personality without a persona, a criminal without a record, and a paradox within the world of art.”

Originally influenced by the work of Xavier Pru – AKA father of stencil graffiti Blek le Rat – Banksy has become a major player in the urban and contemporary art world, generating controversy and publicity through his distinctive and creative approach.

Popular with the public and highly valued by the art world, Banksy’s works convey powerful messages via simple but arresting images. His early transgressive artwork was seen by some as vandalism, but for many others, Banksy is an important counter voice subverting the dominant narrative of capitalism.

The Bristol-based artist is a humanitarian and peace activist, using his wealth to benefit many charitable causes. His artworks raise awareness of political iniquities and challenge social injustices, such as the war in Ukraine, refugee crises, homelessness, global warming, police violence, apartheid, misogyny and racism. These are invariably set within a satirical, witty and humorous style that often confronts those in power.

The Glasgow-Banksy connection

The red traffic cone has historically been placed on Wellington’s head by revellers to signify a great night out in the city and is now an iconic part of Glasgow’s heritage and marketing. It holds great meaning for Glaswegians in its anti-elitist and anti-establishment message, contributing to their social and cultural capital.

It’s also a reminder of the extent to which the expression of all forms of culture have been central to Glasgow’s regeneration over recent decades. First came the Burrell Collection in 1983, followed by the International Garden Festival in 1988, which built momentum towards a successful bid for the European City of Culture in 1990 – a life-changing accolade for a city notorious for its poverty, violence and the lowest life expectancy in Europe.

But the connection between Banksy and the city goes much deeper. Both have a history of actively supporting humanitarian causes. Glasgow was the first anti-apartheid city to support Nelson Mandela with a street near the South African consulate renamed to honour him while he was still in prison. It also has a proud reputation for welcoming and defending refugees, and supporting them throughout the city.

Glasgow City Council has promoted street art by commissioning and funding murals around the city which have become an urban attraction. Glasgow also hosts the annual Yardworks Festival which is an internationally renowned celebration of urban art.

Glaswegians are known for their friendliness and irreverent humour which resonates with Banksy’s works. The city has actively resourced artists as part of its cultural policy and has been named the UK’s top cultural and creative city in a landmark report by the European Commission. The Banksy exhibition will undoubtedly boost Glasgow’s reputation as a centre of creative dynamism.

What to expect

The exhibition starts with a re-creation of his studio space, featuring for the first time the stencils used to create many of his most famous works. Banksy has used these original stencils to create new versions of these works, including Kissing Coppers, which first appeared on a wall of the Prince Albert pub in Brighton in 2004.

It will also feature Banksquiat: Boy and Dog in Stop and Search, Banksy’s homage to Jean-Michel Basquiat which was displayed on a wall near the Barbican in London as an unofficial collaboration with the art centre’s 2017 Basquiat show. A critique of the often-racist nature of police stop-and-search powers, it sold in May 2023 for an astonishing $9,724,500 (£7,646,277).

An image called Girl with Balloon by the graffiti artist Banksy.
The shredded Girl with a Balloon.
@banksy

The infamous shredding mechanism of Banksy’s Girl with Balloon is also showcased in the exhibition. In 2018, just after it was purchased at auction for £1 million, the canvas was passed through a secret shredder hidden inside the frame, leaving the bottom half in tatters with only the solitary red balloon untouched.

Three years later this iconic artwork was renamed Love in the Bin and auctioned at Sotheby’s for a mind-bending £18,852,000.

A more recent work from his Borodyanka Ukraine series, a stencil of a young female gymnast performing a handstand, balancing on a damaged building in Ukraine, is also on show. While creating this work on a bombed-out building, a local resident remonstrated with Banksy and threatened to call the police.

A Banksy graffiti image of a gymnast on a shelled out building in Ukraine.
Banksy’s work in Ukraine drew attention to the ordinary lives blighted by war.
@banksy

Banksy has been in the vanguard a new art form that was birthed in street art but has matured to include a strategic use of different kinds of media – graffiti, film, performance, digital and social media – all of which have the capacity to maximise the impact of his message in real time with a global reach.

It feels significant that Banksy has chosen a once-blighted Scottish city that redeemed itself through the arts for his first show in more than a decade. A shared sense of humour, humanitarian values and a disregard for the establishment mean Banksy’s show will be well-received in Glasgow.

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.”

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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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