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F5: Beauty + Experience Infuse All Things for Designer Nick Ozemba

F5: Beauty + Experience Infuse All Things for Designer Nick Ozemba

Nick Ozemba, co-founder of In Common With, met his eventual business partner, Felicia Hung, on the first day of their freshman year in the furniture design program at RISD. After graduation, he went on to design interiors at ASH NYC and SHoP Architects, while Hung went to work as a product designer. Then in 2017, they reunited to form the Brooklyn-based studio In Common With.

While focused on creating lighting collections, the work leans on curiosity, materiality, and plenty of collaboration. The brand’s aesthetic is simple while striking, it comes together with the help of a top-notch team and talented ceramicists, glassmakers, and metalworkers they collaborate with around the world. An impressive portfolio of custom projects carries the style further, featuring a comfortably understated appeal. Ozemba and Hung have been able to combine their respective experiences in industrial design, manufacturing, and interiors and infuse it throughout every corner of In Common With.

Nick Ozemba Photo: William Jess Laird

In fall 2022, In Common With took a big step by opening their first showroom in a historic warehouse building in Gowanus, Brooklyn. The space includes an expanded production studio where every product is assembled and new collections and prototypes are developed.

This week, Nick Ozemba joins us for Friday Five!

styled interior space with a round dining table and four chairs

Photo: Nick Ozemba

I had the privilege of visiting the Schloss Hollenegg this summer with my business partner, Felicia, and Sophie Lou Jacobsen, to photograph our newest lighting collection – Flora Series. A 12th-century castle in the Austrian countryside owned by Alice and Alfred Liechtenstein, its historical rooms are filled with old-world details, from wood-burning clay stoves to hand-painted silk wallpaper and baroque-plastered walls. 
After carefully restoring the estate, Alice and Alfred decided to start a design residency program, transforming the space into a workshop for research and experimentation. The designers in residence spend the month of July developing their practice, responding to the historical setting, being inspired by their surroundings and each other. Their final work is exhibited each May. We are thrilled some of our Flora pieces will be on view as part of the show.

a body of water between two mountains at dusk

Photo: Nick Ozemba

2. Camí de Cavalls

The Camí de Cavalls, which translates to “Way of Horses,” is a historic military path that winds around the perimeter of Menorca and has existed since the early 1300s. The trail was restored as a walking route in 2010 and is one of the most beautiful landscapes I have experienced in the Mediterranean. It swerves through multiple ecosystems along a rugged coastline, opening to secluded beach coves. It now has even more special meaning – my partner and I spent a week exploring the island this summer and it’s where we got engaged.

exterior of an old building with a large wooden door and planters on either side

Photo: Nick Ozemba

After our time in Menorca, we spent a few days on its larger sister island, Mallorca. Hidden in a small village is a fantastic restaurant called Ca Na Toneta run by two sisters, Maria and Teresa, and named after their grandmother, Toneta. Their approach to cooking combines traditional Mallorcan dishes with a focus on seasonal and locally-sourced ingredients. We had an unforgettable meal on their rear patio. The sisters also converted an adjoining house into a small boutique selling products made by local artists, so we left with an extra suitcase of beautiful ceramics and textiles.

dark wood cafe interior with tables, chairs, and a black and white floor

Photo: Nicole Franzen

When I first moved to New York, Saraghina in Bed-Stuy was my go-to restaurant. I lived a block away and would go with my dear friend, Leah, to gossip for hours over pizza and rosemary margaritas. Since starting In Common With, we’ve worked with many excellent restaurants, including the newly opened Saraghina Caffè in Fort Greene, which features our Orb 4 Surface Mounts. The interior – designed by Space Exploration Design – is a beautiful ode to Milan, and the food does not disappoint.

beige and bright orange book cover that reads ROSETTA

5. My Cookbook Collection

I’m a passionate home cook and love learning from talented chefs by cooking my way through their books. My latest obsession is Rosetta by Elena Reygadas. The book is in Spanish, so I’ve been slowly translating each recipe as I make it. So far, the white mole is my favorite. I’m also looking forward to Camille Becerra’s cookbook, which will come out soon.

Work by Nick Ozemba + In Common With:

styled bedroom with round table lamp sitting on the nightstand/headboard

Orb 8 Table Lamp Photo: Clement Pascal

styled interior space with sofa, coffee table, white floor lamp, black pendant lamp, and windows

In Common With x Danny Kaplan Studio, Helena Floor Lamp in Stone and Paloma Pendant in Anthracite Photo: William Jess Laird

orange pendant light

Alien Orb Pendant in Terracotta

lit double-sided wall sconce

Glass Up Down Sconce Photo: In Common With

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.

Exploring the Chinese Liquor Capital, “Foreigner’s View of Yanghe” Photography Project Concluded in Suqian

Exploring the Chinese Liquor Capital, “Foreigner’s View of Yanghe” Photography Project Concluded in Suqian

SUQIAN, China, May 19, 2023 /PRNewswire/ — On May 15 and 16, the “Foreigner’s View of Yanghe” Photography Project was held in Suqian. Photographers and journalists from renowned organizations such as MBC, Vietnam News Agency, and Voice of Vietnam, gathered in Suqian, known as the “Capital of Chinese Liquor”. 

Their objective was to delve into the centuries-old art of liquor brewing and gain a deep appreciation for the rich heritage of Chinese liquor culture. Through their lenses and reporting, they aimed to provide a unique perspective from foreigners on Yanghe and contribute to the broader understanding and promotion of Chinese liquor culture.

Chinese liquor, known as Baijiu, plays a significant role in shaping the unique Chinese liquor culture.

Suqian, located in the northern part of Jiangsu Province and within the Yangtze River Delta, holds a distinct identity as the home of Baijiu and serves as a cultural symbol. With a history that dates back to the prosperous Sui and Tang Dynasties and continued growth during the Ming and Qing Dynasties, Suqian’s liquor-making tradition exemplifies the deep-rooted heritage of its liquor culture.

The region’s natural water sources, climate, soil, air, and ecological environment rich in microbial flora make it the prime location for liquor production in eastern China. The renowned brands “Yanghe” and “Shuanggou”, along with six other well-known Chinese trademarks, have made Suqian’s liquor specialties a household name, extending far beyond the borders of Jiangsu. In March 2019, Suqian was officially recognized as “China’s Liquor Capital” following a re-evaluation, solidifying its status as a prominent hub for liquor production.

In the manual brewing workshop of Yanghe Distillery, craftsmen are skillful in operation, clouds are blown on the retort barrels, and the air is filled with the aroma of liquor. Because all the processes are all hand-crafted, the puree that comes out is rich in aroma, thick and long-lasting, sweet and delicate.

Photographers came to Yanghe’s liquor making workshop covering an area of about 93,000 square meters, the old Yanghe cellar, and the century-old underground cellar known as the treasure of Yanghe’s town. In the automatic intelligent 3D warehouse and the Shuanggou modern packaging logistics workshop, they can feel the traditional culture and the modern exploration behind the industry.

Water is the “key” to Suqian. Sitting on the wide ecological water system, with a water area of 2,367 square kilometers, it continuously delivers clear water to Suqian liquor. During the event, the group came to the Hongze Lake Wetland Scenic Area, which is densely covered with tidal flats, rivers, swamps, and lakes.

Liquor, being a universal language, has increasingly gained significance as a medium for cultural exchanges and a bridge that connects different civilizations. It serves as a vehicle for mutual learning among nations. In this context, media reporters and photographers utilized liquor as a medium to explore and understand Suqian’s rich liquor culture during their two-day trip. Through their exceptional storytelling skills and captivating photography, they shared the flavors and essence of the liquor, effectively conveying the narrative of Suqian’s liquor culture. This media coverage plays a pivotal role in promoting Suqian as the capital of liquor to a broader audience and enabling its recognition beyond regional boundaries.

Zhang Liandong, Chairman of Yanghe Distillery, emphasizes that Chinese baijiu serves as both a new symbol for China and a global trend in experiencing Chinese culture. To transform Chinese brands into global brands, it is crucial to integrate and organize renowned liquor companies for international expansion. This involves establishing a world-class liquor production zone that showcases the exceptional quality and value of renowned Chinese liquors. By leveraging the production zone as a representation of world-class famous liquors, the aim is to enhance the global perception and recognition of Chinese baijiu.

Image Attachments Links:

Link: https://iop.asianetnews.net/view-attachment?attach-id=440823

Caption: The manual brewing workshop of Yanghe Distillery

SOURCE “Foreigner’s View of Yanghe” Photography Project

Exploring the Chinese Liquor Capital, “Foreigner’s View of Yanghe” Photography Project Concluded in Suqian

Exploring the Chinese Liquor Capital, “Foreigner’s View of Yanghe” Photography Project Concluded in Suqian

SUQIAN, China, May 19, 2023 /PRNewswire/ — On May 15 and 16, the “Foreigner’s View of Yanghe” Photography Project was held in Suqian. Photographers and journalists from renowned organizations such as MBC, Vietnam News Agency, and Voice of Vietnam, gathered in Suqian, known as the “Capital of Chinese Liquor”. 

Their objective was to delve into the centuries-old art of liquor brewing and gain a deep appreciation for the rich heritage of Chinese liquor culture. Through their lenses and reporting, they aimed to provide a unique perspective from foreigners on Yanghe and contribute to the broader understanding and promotion of Chinese liquor culture.

Chinese liquor, known as Baijiu, plays a significant role in shaping the unique Chinese liquor culture.

Suqian, located in the northern part of Jiangsu Province and within the Yangtze River Delta, holds a distinct identity as the home of Baijiu and serves as a cultural symbol. With a history that dates back to the prosperous Sui and Tang Dynasties and continued growth during the Ming and Qing Dynasties, Suqian’s liquor-making tradition exemplifies the deep-rooted heritage of its liquor culture.

The region’s natural water sources, climate, soil, air, and ecological environment rich in microbial flora make it the prime location for liquor production in eastern China. The renowned brands “Yanghe” and “Shuanggou”, along with six other well-known Chinese trademarks, have made Suqian’s liquor specialties a household name, extending far beyond the borders of Jiangsu. In March 2019, Suqian was officially recognized as “China’s Liquor Capital” following a re-evaluation, solidifying its status as a prominent hub for liquor production.

In the manual brewing workshop of Yanghe Distillery, craftsmen are skillful in operation, clouds are blown on the retort barrels, and the air is filled with the aroma of liquor. Because all the processes are all hand-crafted, the puree that comes out is rich in aroma, thick and long-lasting, sweet and delicate.

Photographers came to Yanghe’s liquor making workshop covering an area of about 93,000 square meters, the old Yanghe cellar, and the century-old underground cellar known as the treasure of Yanghe’s town. In the automatic intelligent 3D warehouse and the Shuanggou modern packaging logistics workshop, they can feel the traditional culture and the modern exploration behind the industry.

Water is the “key” to Suqian. Sitting on the wide ecological water system, with a water area of 2,367 square kilometers, it continuously delivers clear water to Suqian liquor. During the event, the group came to the Hongze Lake Wetland Scenic Area, which is densely covered with tidal flats, rivers, swamps, and lakes.

Liquor, being a universal language, has increasingly gained significance as a medium for cultural exchanges and a bridge that connects different civilizations. It serves as a vehicle for mutual learning among nations. In this context, media reporters and photographers utilized liquor as a medium to explore and understand Suqian’s rich liquor culture during their two-day trip. Through their exceptional storytelling skills and captivating photography, they shared the flavors and essence of the liquor, effectively conveying the narrative of Suqian’s liquor culture. This media coverage plays a pivotal role in promoting Suqian as the capital of liquor to a broader audience and enabling its recognition beyond regional boundaries.

Zhang Liandong, Chairman of Yanghe Distillery, emphasizes that Chinese baijiu serves as both a new symbol for China and a global trend in experiencing Chinese culture. To transform Chinese brands into global brands, it is crucial to integrate and organize renowned liquor companies for international expansion. This involves establishing a world-class liquor production zone that showcases the exceptional quality and value of renowned Chinese liquors. By leveraging the production zone as a representation of world-class famous liquors, the aim is to enhance the global perception and recognition of Chinese baijiu.

Image Attachments Links:

Link: https://iop.asianetnews.net/view-attachment?attach-id=440823

Caption: The manual brewing workshop of Yanghe Distillery

SOURCE “Foreigner’s View of Yanghe” Photography Project

Man attempting to photograph every animal species in human care reaches his 14,000th

Man attempting to photograph every animal species in human care reaches his 14,000th

LOS ANGELES — Meet Jolie, an Indochinese green magpie. She’s cute, bossy — and lucky to be alive.

In 2017, she was among 93 Asian songbirds, many endangered, found stuffed into luggage while being smuggled through Los Angeles International Airport. Only eight of the birds survived.

A female Indochinese green magpie named Jolie poses at the Los Angeles Zoo & Botanical Gardens. She is the Photo Ark’s 14,000th species.

Joel Sartore/National Geographic Photo Ark

Jolie now lives in a mixed-species aviary at The Los Angeles Zoo, where National Geographic Explorer Joel Sartore photographed her for the Photo Ark, a project with the ambitious goal of documenting every species in human care.

“She was charismatic and posed … she was grooming and fluffing up and making little vocalizations, and she was absolutely a great subject,” he said.

This sassy songbird marks a huge milestone for Sartore — his 14,000th animal species photographed.

“The Photo Ark is an opportunity to really get to know animals that we wouldn’t know even exist and hopefully save species and their habitats while there’s still time,” he said.

“As these other animals go away, so could we,” he added.

Joel Sartore with frill-necked lizard, Chlamydosaurus kingii, at a high school in Victoria, Australia, 2017.

Photo by Douglas Gimesy

The effort began 17 years ago in Sartore’s hometown of Lincoln, Nebraska. His wife had been diagnosed with breast cancer, so the National Geographic photographer took a one-year hiatus to care for her and their three young children.

No longer trotting the globe on assignment, Sartore turned his camera’s lens toward his own backyard.

“I thought about a way of highlighting the small species,” he said. “We all know what gorillas and tigers look like, and that they’re rare. But we don’t really think about the sparrows or the toads or the mice of the world.”

A springbok mantis, Miomantis caffra, at Auckland Zoo, New Zealand, 2013.

Joel Sartore/National Geographic Photo Ark

Throughout history, species have gone extinct without a visual record of their existence. Perhaps blurry black-and-white photographs and museum exhibits help humans understand these long-gone creatures, if we’re lucky.

Santore created the Photo Ark not only to preserve these records but inspire others to do more. The animals are photographed with a black or white background and studio lighting to limit distractions.

An endangered Coquerel’s sifaka, Propithecus coquerel, at the Houston Zoo, Texas, 2012.

Joel Sartore/National Geographic Photo Ark

“The photographs are actually kind of boring, and it’s good. It’s really good,” he said. “We let the animals be the stars of the show … This is the animal, that’s it.”

Friday marks Endangered Species Day, and this year, the U.S. celebrates the 50th anniversary of the Endangered Species Act. The U.S. Postal Service is marking the occasion with new stamps showcasing 20 endangered animal species from the Photo Ark collection.

From the desert bighorn sheep to the Wyoming toad, the featured animals can be found within the 50 states and U.S. territories.

“At one point, the black-footed ferret and the Vancouver Island marmot and the Mexican gray wolf — these are animals that all got down to fewer than two dozen each — and they’ve been pulled back right from the very brink of extinction just by people that cared,” Santore said.

He remains optimistic as he continues his journey, aiming to photograph more than 20,00 species in total. His son, Cole, has promised to finish the job if needed.

“if you look at the Photo Ark, you see really what biodiversity looks like, and it is so varied and so fascinating. It’s so worthy of protection,” he said.

Visit NatGeo.org/PhotoArk to find your favorite animals and more.

The Walt Disney Co. is the parent company of National Geographic Partners and this ABC station.

New collection focuses on Indigenous perspectives on the American Southwest

New collection focuses on Indigenous perspectives on the American Southwest

Tony Abeyta, Citadel. Oil on linen. 40 x 60in.. The Lunder Collection, 2021. Submitted photo

WATERVILLE — More than three years in the making, and with the support of a wide community of collaborators, Colby College Museum of Art presents “Painted: Our Bodies, Hearts, and Village” (May 19, 2023–July 28, 2024), a collection installation centering Pueblo perspectives on the context that informed the social and cultural landscape of Taos from 1915 to 1927, when the Taos Society of Artists, a group of Anglo-American painters, was active. It also sheds light on issues that affect Native people today, in the Southwest and beyond.

The exhibition features paintings by TSA artists from the Lunder Collection in dialogue with works by twentieth- and twenty-first-century Native American artists, including new acquisitions, to illuminate the varied, complex, and rich art histories of the U.S. Southwest, in particular the city of Taos and Taos Pueblo, New Mexico. This collection installation also will include writing, sound, and artworks from the featured artists and other Native culture bearers as part of new research initiated by the museum’s Lunder Institute for American Art, which was established in 2017.

In keeping with its long-term commitment to furthering collaborative methodologies, the Colby Museum is integrating and centering input from Native community partners throughout the project. The reinstallation’s co-curators are 2021–22 Lunder Institute research fellows Juan Lucero (Isleta Pueblo) and Jill Ahlberg Yohe, who worked in collaboration with Siera Hyte, the Colby Museum’s assistant curator of modern and contemporary art. Virgil Ortiz (Cochiti Pueblo) is the project’s exhibition designer. A curatorial advisory council made up of Pueblo and Wabanaki artists and stakeholders provided essential guidance on the installation and its interpretative elements. The council members are Ron Martinez Looking Elk (Isleta Pueblo/Taos Pueblo), Patricia Michaels (Taos Pueblo), Theresa Secord (Penobscot), Sarah Sockbeson (Penobscot), and Dr. Joseph Suina (Cochiti Pueblo). Through this project, and specifically through the advisory council, the museum seeks to facilitate opportunities for intertribal dialogue between Wabanaki and Pueblo communities.

“The Lunder Collection’s great strengths in art of the southwest United States, and especially paintings by Taos Society of Art artists, offered an unparalleled opportunity to open a new path in American art history,” said Jacqueline Terrassa, Carolyn Muzzy Director of the Colby Museum, according to a news release from the museum.

“We were fortunate to partner with extraordinary artists, culture bearers, and experts of many backgrounds to inform this project. Painted: Our Bodies, Hearts and Village moves away from singular interpretations about representation and creativity related to the region and the Indigenous people for whom those lands are home, and instead opens multifaceted avenues for exploration, dialogue, and reflection about American histories and experiences.”

For centuries, Pueblo makers have innovated with clay and other materials. This creative inheritance has been passed down through the generations in an unbroken artistic lineage. In the late nineteenth and early twentieth centuries, Pueblo artists made revolutionary advances in ceramics and developed new techniques that connected Indigenous painting traditions, symbols, and forms with Modernist painting. During this same time period, the construction of the Santa Fe Railroad brought Anglo-American settlers to the Southwest in greater numbers. Taos Pueblo, long a vibrant center for intertribal trade, quickly attracted the interest of these newly arrived settlers. Drawn to the region in pursuit of what they described as uniquely American subjects—distinct from European artistic traditions—the founding members of the TSA traveled to Pueblo homelands and encountered this thriving artistic world with a rich tradition of commerce and exchange. The TSA artists painted their impressions of Taos Pueblo and Pueblo people, their works reflecting a complex network of relationships between the artists and their chosen subject matter.

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During their lifetimes, the TSA garnered varying degrees of professional success and scholarly attention, though they were largely overlooked by most museums and art historians outside of the US Southwest. American art institutions gradually incorporated their work into presentations of American art history that promoted a generalized and idealized conception of Native America. More recently, scholars studying the TSA have focused primarily on the artists themselves, sometimes for broader art historical and cultural critiques of romanticism and the Southwest as a place to fortify ideas of a then growing nation state.

Painted: Our Bodies, Hearts, and Village includes these critiques as an important element for understanding how the TSA’s output has traditionally been exhibited, but goes beyond that framework, positioning Taos people as empowered agents within their own lives and own portraits. By centering Pueblo perspectives and worldviews, the exhibition enfolds the Lunder Collection’s TSA paintings into a much longer story about Taos Pueblo. Though their representations came from an outside perspective, the TSA paintings illustrate the central role of Taos Pueblo and its people in trade relations—economic, diplomatic, artistic—within the United States. The TSA paintings are one entry point into the longstanding artistic exchanges that happened in the history of Taos, and were only possible through Taos Pueblo being the hub of exchange for millennia.

“This exhibit highlights our ability as Pueblo people to interpret our own histories, cultures, and art practice. It serves as an avenue to reinterpret and decolonize the identities created by non-Native settlers and establish presence for Pueblo ecologies, which have always been contemporary,” said Juan Lucero, exhibition co-curator.

Painted: Our Bodies, Hearts, and Village emphasizes the sovereignty of Pueblo peoples and the land they steward, inviting viewers to consider how art produced in the US Southwest reflects, or diverges from, the lived experiences of Native community members. The exhibition and its associated programs ask: What can be learned about self-representation, intertribal exchange, settler colonialism, and the causes of climate change by foregrounding Pueblo and other Native voices? And, relatedly, what enduring myths about Native people and Westward expansion might be unlearned through this multivocal approach?

“With this reinstallation, the museum asks visitors to reconsider what they may have previously learned about the US Southwest and the Taos Society of Artists. The project reorients visitors to these subjects through the lens of Pueblo and other Native artists and contributors, presenting an expansive narrative that foregrounds Native self-representation in the telling of American and Native American art histories,” said Siera Hyte, assistant curator of modern and contemporary art at the Colby Museum.

Artists represented in the project include Margeaux Abeyta, Mozart Abeyta, Tony Abeyta, Oscar Berninghaus, Ernest Blumenschein, Gerald Cassidy, Pop Chalee, Berdina Charley, E. Irving Couse, Herbert Dunton, Nicolai Fechin, Jody Naranjo Folwell, Susan Folwell, Jason Garcia, Jessa Rae Growing Thunder, Marsden Hartley, Ernest Martin Hennings, Seferina Herrera, Victor Higgins, Ahkima Honyumptewa, William Robinson Leigh, Albert Looking Elk, John Marin, Patricia Michaels, Robert Mirabal, Thomas Moran, Dan Namingha, Michael Namingha, Madeline Naranjo, Clara Neptune Keezer, Theresa Neptune Gardner, Molly Neptune Parker, Virgil Ortiz, Bert Geer Phillips, Juan Pino, Cara Romero, Diego Romero, Ken Romero, Yellowbird Samora, Mary Sanipass, Joseph Sharp, Sarah Sockbeson, Roxanne Swentzell, Awa Tsireh, and Walter Ufer.

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“This path breaking reinstallation serves as a guidepost for the future of American and Native American art curation,” said exhibition co-curator Jill Ahlberg Yohe.

“By centering Pueblo perspectives in all phases of this project, the museum provides a new direction for the study and exhibition of the Taos Society of Artists. This approach offers visitors, and especially Colby students, a much richer, redemptive art historical practice.”

As part of the Colby Museum’s robust schedule of exhibition and projects, Painted: Our Bodies, Hearts, and Village invites visitors to explore the complex relationships between art history, art making, and the American experience. Advancing a notion of American art as pluralistic and open, this project builds upon a sustained effort to use the museum’s collection to present new narratives and to show how art, both historical and contemporary, can illuminate some of today’s most vital questions.

Painted: Our Bodies, Hearts, and Village is made possible with support from the Terra Foundation for American Art, Colby Museum endowment funds provided by the Lunder Foundation, and the Mellon Foundation, which supported the 2021–22 Lunder Institute Research Fellows Program.

The installation will be accompanied by a series of public programs, including a symposium in fall 2023. A publication documenting the installation and including additional reflections, interviews, and research is also planned.

For more information, visit museum.colby.edu.

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Looks Fishy: Andrey Savin Greets Marine Denizens in His Vibrant Underwater Portraits

Looks Fishy: Andrey Savin Greets Marine Denizens in His Vibrant Underwater Portraits

All images © Andrey Savin, shared with permission

Skirting the sandy sea floor or floating amidst anemone fronds, the subjects of Andrey Savin’s portraits can’t help but act a little fishy. The photographer meets most of the marine species in the waters around where he lives in the Philippines, fascinated by their enigmatic habits and unique interactions. “The most interesting moments for me are when I observe relationships between living creatures of the same species or interspecies relationships,” he tells Colossal. A finalist for the 2022 Close-Up Photographer of the Year contest, he highlights each individual’s distinctive traits, from snaggleteeth to speckled scales, and their remarkable aquatic home.

Savin is currently working on a project investigating how to take high-quality video with smartphones underwater, along with a continuing focus on capturing animal behavior. You can find more on his website, Instagram, and Behance.

 

A close-up photo of a fish.

A close-up photo of a fish.

A close-up photo of a fish.

Two close-up photos of fish. A close-up photo of a fish.

A close-up photo of a fish.

Two close-up photos of fish.

A close-up photo of a fish.  A close-up photo of a fish.

A close-up photo of a fish.

A close-up photo of a seahorse.

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 Looks Fishy: Andrey Savin Greets Marine Denizens in His Vibrant Underwater Portraits appeared first on Colossal.

Picture by picture, a Canadian dentist built a photography collection by artists from the Black Atlantic

Picture by picture, a Canadian dentist built a photography collection by artists from the Black Atlantic

Growing up in the small southern Ontario city of Windsor in the 1960s and ‘70s, Kenneth Montague had a front-row seat to a much bigger cultural world roiling and unfolding just across the Detroit River.

The river serves as the border between Canada and the United States, and the seven interconnected towers of Detroit’s Renaissance Center — today a monument to failed efforts at urban renewal in the 1970s — remain the most prominent feature of the diminutive Windsor skyline.

They’ve helped to make Detroit a constant presence in the Windsor psyche, within easy reach but a world away. Montague’s parents, both of whom had immigrated to Canada from Jamaica before he was born, indulged their son in the cultural riches of the city across the water. Whether it was the wonder of the Detroit Institute of Arts, or the musical splendor of Motown, it left a lasting imprint on the young Montague’s mind.

On one trip to DIA, he recalls, “I remember seeing a photograph by James Van Der Zee (from 1932) of a Black couple in Harlem in their raccoon coats and their Cadillac with whitewall tires,” he said. “And that was just not what I was seeing growing up, in my era of “Sanford and Son,” or “Good Times” — just that general buffoonery that dominated the portrayal of Black culture that in no way reflected my middle-class, Black family in Canada. It was a moment of clarity: I thought, ‘There’s something I can aspire to.’”

James Van Der Zee, “Couple in Raccoon Coats,” 1932. The image will be included in “As We Rise: Photography from the Black Atlantic,” opening at the Peabody Essex Museum in June. (Estate of James Van Der Zee/Museum of Modern Art)Estate of James Van Der Zee/Museum of Modern Art

Some 30 years later, Montague, now 60, carried those experiences into the world of art collecting as a young dentist in Toronto. The first picture he acquired, in 1999, was that Van Der Zee image of the couple in their finery; it spurred a passion project, blossoming into a collection and a slate of collaborative curatorial projectsthat he’s stewarded from his downtown Toronto apartment into a significant photo volume published by the Aperture Foundation and a museum exhibition soon to arrive at the Peabody Essex Museum. “As We Rise: Photography from the Black Atlantic,” a show of more than 100 works from Montague’s photography collection, opens at PEM on June 17.

But growing up in Detroit’s sphere was by no means uniformly inspiring. One of his earliest memories, as a 5-year-old, was a bleakly hot day in July 1967 when even in Windsor his parents were sent home early from work for fear of their own safety, as the city they’d come to love erupted in riots and violence. They stood in their living room facing the river, watching smoke billow above the Detroit skyline. “It was apocalyptic,” he said.

The exhibition’s title, encompassing both inspiration and trauma, is also deeply personal: Montague’s father, Spurgeon, would tell his son that as Black immigrants rooting themselves in a sometimes-inhospitable milieu, striving to achieve was important. “He would always tell me, ‘As you do well, Ken, you bring up others in your community.’” The publishers at Aperture took the story as inspiration, distilling it to “As We Rise,” an apt rubric for the collection as a whole. While by no means uniform — it has grown from its roots in photography to include painting and other media — the collection is notable for its frank, dignified portrayals of everyday people throughout the Black diaspora, whether in Europe, the Americas, or Africa itself.

Xaviera Simmons, “Denver,” 2008. From “As We Rise: Photography from the Black Atlantic,” opening in June at the Peabody Essex Museum.
Xaviera Simmons

“There are so many works in the exhibition where there’s a real connection between the photographer and the sitter,” said Elliott Ramsey, the curator at the Polygon Gallery in Vancouver, British Columbia, which organized the show. “It could be quite intense to be surrounded by these very direct gazes — confrontational or even aggressive. But in ‘As We Rise,’ it never feels that way. Remember, these are images of Black life by Black photographers. There’s a warmth, a reciprocity, an inherent sense of trust.”

For Montague, that unity wasn’t consciously intended, but something deep inside him that bubbled up into his collecting. “For me, that settlement journey was always about uplift,” he said. “Certainly, there are images of protest, images of unrest. But Aperture was very smart in figuring out, I think, what the collection, organically, was about: Community, identity, and power.”

The collection’s humble beginnings and eventual arrival in the halls of more official culture track a recent evolutionary arc of cultural diversity itself. Montague was never one to buy things and tuck them away in storage; in his Toronto apartment, he would stage small exhibitions and salons with guest speakers and create a convivial atmosphere where the invitation was open to all (he calls the work he’s acquired the “Wedge Collection” because of the apartment’s awkward, not-quite-square walls; his curatorial arm is called “Wedge Curatorial Projects.”)

At the time, he was acquiring pieces by Black artists like Barkley Hendricks, Jamel Shabazz, and Van Der Zee, who, by now, have become renowned names in the pantheon of Black art. There’s some satisfaction, Montague says, with following a passion and then having the world catch up to him. “When I started, contemporary African art was this exotic thing for a lot of collectors; it was certainly fringey for a lot of publications and museums,” he said. “These were things I wasn’t seeing on the walls of galleries or museums, and I wanted to make a space for them.”

Left: Jamel Shabazz, “Best Friends, Brooklyn, New York,” 1981; Right: Kennedi Carter, “Untitled (Self-Portrait),” 2020. Both are included in “As We Rise: Photography from the Black Atlantic,” an exhibition coming to the Peabody Essex Museum in June. Jamel Shabazz (left); Kennedi Carter (right)

“As We Rise” has already been staged at the Art Museum at the University of Toronto and the Polygon Gallery. PEM is its first American venue, and further dates are currently under negotiation, but not yet confirmed. For the PEM presentation, the exhibition will change shape; curator Stephanie Tung conceived a frame that embraces the impassioned, organic evolution of the collection itself.

“We were thinking about, ‘What can we add to the conversation?’” she said. “It’s a show of 100-plus works, but 75 artists, so it’s fascinating but disparate. We wanted to build groupings that would be resonant with each other.”

Working with Ramsey, Tung conceived a presentation inspired by the elliptical verse/chorus patterns of the musical staples of jazz and Motown close to Montague’s project, and heart. The structure, she hopes, will create “a chorus of voices that achieve a kind of harmony,” she said, assigning organizing rubrics like belonging, family, and self-fashioning, to the collection. “We’re working within themes, and variations on themes.”

For Montague, it’s been satisfying to see a happenstance life’s pursuit refashioned as a coherent narrative that he hoped might come together one day. “I’m not a professional curator,” he said, “but I always had this idea of storytelling. So many of these things were happy accidents. I just bought the work on a dentist’s income because that’s what I could afford. I’m a very middle-class collector, so this is a very gratifying experience for me.”

AS WE RISE: Photography from the Black Atlantic

At Peabody Essex Museum, 161 Essex St., Salem. June 17 through Dec. 31. 978-745-9500, www.pem.org


Murray Whyte can be reached at murray.whyte@globe.com. Follow him on Twitter @TheMurrayWhyte.

This company wants to be the ‘Booking.com for rocket launches’

This company wants to be the ‘Booking.com for rocket launches’


CNN
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Traveling at nearly 18,000 miles per hour, it can take less than 8.5 minutes for a rocket to fly from Earth’s surface to space orbit. But for the payload it’s carrying, it’s a much, much longer journey.

Cargo-carrying space missions can often take years to get off the ground, and cost millions of dollars.

But one Abu Dhabi startup hopes to change that. Precious Payload wants to be the “Booking.com for rocket launches,” says Andrey Maksimov, the company’s Russian-born CEO and founder.

“Similar to looking at the search results of a booking engine, you can view all the commercially available rocket launches around the planet,” says Maksimov. He adds that the platform, which launched in 2021, enables businesses to plan and manage space missions on a single interface.

Maksimov hopes Precious Payload can simplify a complex, time-consuming process, helping entrepreneurs and researchers plan their payload launches with ease and contributing to “the expansion of humanity’s presence in space,” he says.

Streamlining space shipments

Space missions typically require large teams and costly consultation from industry experts to ensure missions meet strict specifications, says Maksimov.

Precious Payload streamlines the process by gathering data from space agencies and rocket launches across the globe. Maksimov says his team has analyzed the engineering standards and regulatory protocols between international space agencies like NASA and the European Space Agency, and created its own list of specifications that ensure launches will comply with regulations wherever they take off from.

This approach has enabled the company to cut six to 10 months off the average mission’s time-to-launch, says Maksimov, adding that his goal is to achieve launches within “one year and $1 million.”

Connecting customers around the globe to commercial and government launches, Maksimov says the company has received bookings from 30 clients across 12 countries.

In addition to satellites, Maksimov says that Precious Payload is working with a range of cargo, including manufacturing, biological, and even art and marketing payloads, such as the space selfie stick by German company DCubeD, which helps companies get photos of their satellites in space.

Precious Payload's clients have sent their cargo on rockets including the SubOrbital Express, pictured here at a November 2022 launch at the Esrange Space Center in northern Sweden.

Filling a niche

There’s a gap in the market for this “middleman” service, says Wendy Whitman Cobb, a space policy expert and professor of strategy and security studies at the US Air Force School of Advanced Air and Space Studies.

Whitman Cobb, who is not familiar with Precious Payload, says she sees “a place for the service that they’re offering.” Across different space agencies, logistical and bureaucratic processes can vary drastically, and are often opaque and complex, she tells CNN.

Services like Precious Payload could help small businesses and researchers who are unfamiliar with space logistics, says Whitman Cobb. “We’re going to see more of a need for this in the coming years, as this technology becomes more accessible to people that could never afford to do that previously.”

The cost of sending cargo into space has decreased by more than 95% over the past four decades. While companies like Elon Musk’s SpaceX spread the cost of sending a payload into space via its “rideshare” platform, Whitman Cobb says that Precious Payload’s model, which combines all the elements of a space mission, including insurance and regulatory approval, is “a really unique thing that I haven’t seen before.”

Andrey Maksimov hopes Precious Payload will help more researchers and entrepreneurs access space.

A one-stop-shop

Maksimov established Precious Payload in the United States in 2017, raising funds from Silicon Valley investors. However, in 2020 he decided to headquarter the company in Abu Dhabi in the United Arab Emirates (UAE).

“There was a choice: to be the small fish in a very big pond (in the US); or come back to the Middle East … and be one of the only fish in the pond,” says Maksimov.

The UAE is a relative newcomer to the space industry, establishing its government agency in 2014. However, it has already seen success in its ambitious Mars program, becoming the fifth country to reach the red planet with its 2021 probe. Last year it announced an AED 3 billion ($820 million) fund to support “ground breaking” Emirati and international companies working in the space sector, as part of its efforts to diversify its economy.

As an early mover, Maksimov says he hopes to take advantage of this appetite for expansion, adding that Abu Dhabi’s location has given his business access to multiple markets, allowing him to raise $2.1 million in funding from investors in the US, Middle East, and Europe.

The booking platform is just the first step for Maksimov. He plans to make the company a one-stop-shop for space missions by expanding to include ground services and even satellite development.

“There’s an inevitable future where millions of people work and live in space,” says Maksimov, adding: “I want to build the toolset that will enable future entrepreneurs to estimate what it will take to launch (their payload) and solve their problem right there in the board room.”