About

Posts by :

Celebrating Jane Goodall, One Iconic Nature Photo at a Time

Celebrating Jane Goodall, One Iconic Nature Photo at a Time

In 1960, at the age of 26, with secretarial skills and no formal scientific education, Jane Goodall arrived by boat to study chimpanzees in what is now the Gombe Stream National Park of Tanzania. What she lacked in academics she made up for with passion, and a love for animals cultivated since childhood. After securing a job at a natural history museum in Kenya, her boss, famed paleoanthropologist Dr. Louis Seymour Bazett Leakey, felt her deficiency of schooling would be beneficial—she would approach her observations in a completely original way, without bias, and with an open mind.

Studying the behavior of wild chimpanzees as never before would give them information no fossils or captive specimens could, perhaps giving us a greater understanding of our ancestors.

a woman with a telescope in a green forested and hilly landscapea woman with a telescope in a green forested and hilly landscape
A self portrait by Jane Goodall looking out at the valley in Gombe. | Jane Goodall/Courtesy of Vital Impacts

Goodall’s first attempts failed; the chimps would simply run away. But she persevered, and schemed ways to gain their trust. She observed one elder in the community, who she called David Greybeard, using tools like rocks to open food, twigs to fish for termites, sticks to probe where he couldn’t see. Greybeard’s acceptance led other chimps to be more comfortable with her presence. She started the delightful-sounding “Banana Club,” a daily feeding of the monkeys to learn from their behaviors. Soon they came to accept her as one of their own and helped her to garner great insights that challenged the accepted thinking at the time. Human exceptionalism was turned on its head. Chimps also have a complex social system. And not only do they make and use tools, but they’re omnivores, not herbivores as previously thought.

April 3 marked Goodall’s 90th birthday, and in the last 65 years, she’s become one of the world’s foremost ethologists, conservationists, and activists. Moreover, she’s been a fierce champion for women, and what they could accomplish, society’s restrictions be damned.

a fantastical image of an woman upended in a lake, not quite drowninga fantastical image of an woman upended in a lake, not quite drowning
Dusk Bloom by Tamara Dean depicts the struggle of daily routine while living with the dire alarm of a declining ecosystem. | Tamara Dean/Courtesy of Vital Impacts

You’d think she’d be tired. But today Dr. Goodall still travels approximately 300 days out of the year for her work (she’s currently in Australia). But in this birthday year, she’s having a little fun to mark the milestone. She’s gotten a 90-dog salute in California (her favorite animal, she says—don’t tell the chimpanzees), had a talk at the Beacon Theater in Manhattan and events for her across Canada, and multiple shindigs with people like Leonardo DiCaprio and Dave Matthews (“Everybody wants to visit me on my 90th birthday,” she’s said). She’s also released a film about her life’s work and had a party in her honor at LA’s Greek Theater, including a screening of the documentary Jane.

Best of all, she’s partnered with conservation photography organization Vital Impacts, co-founded by award-winning National Geographic conservation photographer Ami Vitale, to raise money for the Jane Goodall Institute, selling works by innovative female photographers in The Nature of Hope: 90 Prints in Honor of Jane Goodall.

a light-colored bear sits on a rocky shoreline eating barnaclesa light-colored bear sits on a rocky shoreline eating barnacles
Spirit Bear Barney by Michelle Valberg captures the first known sighting of this bear. | Michelle Valberg/Courtesy of Vital Impacts

“Jane Goodall epitomizes hope and action. She shows us that each individual effort, no matter how small, contributes to a collective force for positive change,” Vitale tells me. “I had met her several times, so we reached out and asked to partner in this. She understood immediately the power of art and stories—that they’re catalysts for change, encouraging a powerful reimagining of our relationship with nature and each other.”

Photographers included in the sale are a mix of well-known, underrepresented, and up-and-comers, but all keep the planet at the forefront. “We thought this was appropriate to have a sale for women photographers to honor the impact this one woman had on the world and for all of us,” explains Vitale. There are works by the photo media artist Tamara Dean; the Brooklyn-based Brooke Holm, who studies the interaction between humans and nature; and Pulitzer Prize-winning photographer Melissa Farlow.

two women in traditional indigenous skirts. One holds a skateboard.two women in traditional indigenous skirts. One holds a skateboard.
Brenda and Her Mother, by Luisa Dörr. Aymara Pollera women from La Paz, Brenda is a member of Imilla Skate group. | Luisa Dörr/Courtesy of Vital Impacts

For her photo in the sale, Vitale chose a never-before-seen portrait of a two-year-old female giant panda named Hua Yan (Pretty Girl), right before being released in the wild after being born in captivity. “Giant pandas are iconic symbols of conservation, and the opportunity to document these incredible creatures allowed me to contribute to the broader conversation about wildlife conservation,” she says. “Yes, they’re adorable, but I needed to get beyond their charisma and illustrate the challenges they face in the wild as well as the dedicated efforts made to protect them.”

Though pandas have been around for millions of years, they were once as mythical as Bigfoot, a fact that fascinates Vitale. The first one was captured relatively recently, in 1927, and today there are only a few thousand in the world. “This story allowed me to document a side of China that often goes unnoticed—the collaboration between scientists, conservationists, and local communities,” says Vitale. “It was also formative in my own evolution as a storyteller. It isn’t about where you go to tell your story, but how you tell your story. When told well, conservation narratives can be powerful tools for change.”

a young panda bear looks out into the worlda young panda bear looks out into the world
Back to the Wild, by Ami Vitale, taken at the moment a panda bear in captivity is released to the wild. | Ami Vitale/Courtesy of Vital Impacts

The sale ends July 2, beginning with 30 prints and more added weekly, with the one common denominator that every photographer has been inspired by Goodall and her compassion, advocacy, and stewardship for our planet. “Jane’s legacy epitomizes breaking barriers, nurturing empathy, and forging profound connections with nature,” says Vitale. “Her spirit continues to inspire all of us who have been touched by her words.”

Want more Thrillist? Follow us on Instagram, TikTok, Twitter, Facebook, Pinterest, and YouTube.

Vanita Salisbury is Thrillist’s Senior Travel Writer.

Photographer Mark Hendricks in the mountains of the Chesapeake

Photographer Mark Hendricks in the mountains of the Chesapeake

Aristotle defined envy as annoyance at someone else’s success. Catholic teaching lists it among the seven deadly sins. But the sharp edges of ancient meaning have softened over time. So, when I say I envy Mark Hendricks — because he spent a morning with a bobcat in Shenandoah National Park, or because he was able to photograph a cerulean warbler in a nature preserve in West Virginia — it’s just a way of expressing awe at his good fortune.

And yet good fortune or fate have little to do with Hendricks’ harvest of photographs from his travels through the central Appalachian Mountains.

The harvest, now published in a 192-page book, required hard work, long hours in the woods and superhuman patience. If he had not gone out with his camera on that foggy Virginia morning — the fog adding an enticing layer of mystery to the waterfall Hendricks intended to photograph — he would not have crossed paths with the bobcat.

Even in Shenandoah National Park, you have to be in the right place at the right time, usually in twilight. Virginia wildlife officials say bobcats are “secretive, solitary and seldom observed.” In Maryland, the Department of Natural Resources says bobcats are “uncommon.”

Cerulean warbler in Eidolon Nature Preserve, West Virginia. (Mark Hendricks)

So, that day in May 2013, Hendricks, who grew up in Baltimore and teaches at Towson University, was surprised to see one.

Surprised even more that the bobcat, after locking eyes for a moment with Hendricks, did not scamper into the underbrush.

If any luck was involved, it was in the nature of the particular bobcat. It did not seem to mind Hendricks’ presence. In fact, the animal went about its business, crouching, hunting for breakfast, unfazed by the man tracking him.

Hendricks followed the bobcat until it stopped behind a fallen tree and became fixated on something. Hendricks took the moment to slowly and quietly set up his camera on a tripod.

“In a sudden burst of action,” Hendricks writes, “the cat leapt over the log into some leaf clutter and caught a rodent-sized small mammal. It then disappeared … an abrupt ending to an unlikely story.”

But not before Hendricks got the bobcat photographs that appear in “The Central Appalachians: Mountains of the Chesapeake,” his book of images and prose from western Maryland, Virginia, West Virginia and Pennsylvania.

I would not call it a “coffee table book” for two reasons — because it’s smaller than the typical book of photography, and because the term demeans Hendricks’ work. Though full of images of flora and fauna from all four seasons, “The Central Appalachians,” from Schiffer Publishing, is not merely a “picture book.” There are stories and edifying captions on just about every page. Hendricks is as much a photojournalist as a nature photographer, noting the impact of climate change and habitat loss on wildlife or, say, the greed of humans who poach native plants from forest floors.

The subtitle of the book refers to the Appalachians as a geologic province of the vast Chesapeake Bay watershed, with major rivers having headwaters there.

“What happens terrestrially has a big impact on the water,” Hendricks writes, and thus his focus on the central Appalachian range. “The health of the mountains, the health of the water, and the health of the Bay. It is all but one and the same.”

Black bear cubs climb a tree in Shenandoah National Park. (Mark Hendricks)
Black bear cubs climb a tree in Shenandoah National Park. (Mark Hendricks)

The work of this book obviously took years, and some of the resulting images are stunning: A cerulean warbler in Eidolon Nature Preserve in West Virginia; three black bear cubs climbing the same tree in Shenandoah National Park; a barred owl chick in the hollow of a tree; flamingos blown off course by a hurricane and swimming in a pond in south-central Pennsylvania; elk in a meadow in the northern part of that state; a flock of cedar waxwings in the Finzel Swamp Preserve in western Maryland.

While in that part of the state, Hendricks donned a wetsuit and went underwater to capture life in the Savage River — a brook trout foraging among boulders for aquatic insects; minnows devouring a caterpillar; a wood turtle, a crayfish and the large salamander known as the Eastern hellbender.

There are numerous photographs of plant life — wildflowers (lady slippers and white trillium) wherever he found them; scarlet blueberry shrubs in the Dolly Sods Wilderness, and an old, stand-alone gray birch tree for which Hendricks developed a special fondness during trips to Shenandoah. The birch, he writes, is “a relic of the much-cooler past of the mountains.”

Almost all of Hendricks’ photography has a subdued quality, even when the subject is as bright as a goldfinch or as brilliant as maple trees in autumn. That’s not a criticism. It’s a statement of respect for honest photography that captures the natural world in its natural state  — the somber shadows of a forest, a mountain slope on a cloudy day, the oak and hickory forests of the Blue Ridge Mountains at dusk.

Mark Hendricks visited all those places numerous times. He devoted countless hours to recording life in the central Appalachians just as he found it — a long, good project worthy of envy.

Here’s What We’re Excited to See at EXPO CHICAGO 2024

Here’s What We’re Excited to See at EXPO CHICAGO 2024

EXPO CHICAGO 2023. Photo by Justin Barbin

Next week marks the biggest and busiest art week of the year in Colossal’s back yard, EXPO CHICAGO returns to the Navy Pier from April 11 to 14 with hundreds of galleries, site-specific projects, talks, and satellite programming across the city. Numerous galleries, museums, artists, and curators are also partnering for EXPO ART WEEK, which launches April 8.

We know it’s impossible to be in 341 places at once, but as we prepare our own schedules, we wanted to share what we’re looking forward to on-site and off.

Of the 170 galleries at the fair this year, several will show works by artists previously featured on Colossal. Here’s what we’re most looking forward to.

 

top: a red and pink portrait of two people with a round dark spot in the center. bottom: an abstract work of colorful triangles with a gray segment in the center

Top: Joel Daniel Phillips, “Killed Negative #40 / After Unknown Photographer,” 2021, pastel and colored pencil on paper. Bottom: Marie Watt (Seneca), “Butterfly” (2015), reclaimed wool blankets, satin binding, thread, cotton twill tape, and tin jingles, 94 x 126 inches

1. Joel Daniel Phillips and Marie Watt with San Francisco’s Catherine Clark Gallery, booth #344.

 

a painting with several segments, featuring florals, a man reaching for a fire, and another anatomical rendering

Amir H. Fallah, “I am Not This Hair, I am Not This Skin, I am the Soul Within” (2023)

2. Amir H. Fallah with Nazarian / Curcio in Los Angeles, booth #352.

 

a portrait of a seated woman with a flower collar

Delita Martin, “Rain Falls From The Lemon Tree” (2020), acrylic, charcoal, decorative papers, hand stitching

3. Delita Martin with Galerie Myrtis, booth #405.

 

an abstract tapestry of coils and knots

Jacqueline Surdell, “Impression, Nightscape, Clark St Bridge” (2024), nylon cord and steel

4. Jacqueline Surdell with Library Street Collection in Detroit, booth #133.

 

a grid of colorful patterned fabric silhouettes

Gio Swaby, “Together We Bloom 4” (2024), fabric and thread

5. Gio Swaby with Claire Oliver Gallery, booth #356.

 

an elaborate papercut portrait of a person holding their hands to their cheeks

Antonius Tin-Bui, “Solo of Raven” (2021), hand-cut paper and paint, 109 x 60 inches

6. Antonius-Tín Bui, Yvette Mayorga, and Ebony G. Patterson with moniquemeloche.

 

a playful ceramic sculpture with fringe and small segments stuck to the body

Linda Nguyen Lopez, from ‘Dust Bunnies’

As part of /Dialogues, the fair’s spate of panels, forums, and discussions, our friends at Art21 are screening a selection of films on Friday afternoon. And on Saturday, join Chicago-based artist Michael Rakowitz off-site at Gene Siskel Film Center for a screening of “Haunting the West,”  a short film delving into Iraqi-Jewish heritage and how it informs his work.

Plus, artist Linda Nguyen Lopez will discuss contemporary craft with John Paul Morabito and Judilee Reed on Sunday afternoon.

For the fair’s public art program IN/SITU Outside, artist Brendan Fernandes will install scaffolding around the General John Alexander Logan Monument in Grant Park. Titled “New Monuments | Chicago,” the intervention suggests that the longstanding statue, which the Chicago Monuments Project cited as warranting greater public discussion, is in transition. There will be an accompanying performance on April 12.

 

people peer into miniature booths at an art fair

Barely Fair 2023 at Color Club

And countering the enormity of EXPO CHICAGO with an event of equally epic proportions, Barely Fair returns to the Color Club in Avondale with thirty galleries in miniature. Stop by to see the small works from artists around the world nested inside 1:12 scale booths.

Get your EXPO CHICAGO tickets here, and use the code COLOSSAL24 for $5 off.

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 Here’s What We’re Excited to See at EXPO CHICAGO 2024 appeared first on Colossal.

This Self-Taught Photographer Is a Believer in YouTube University

This Self-Taught Photographer Is a Believer in YouTube University

In 2012, Yaw Asiedu was working towards a biology and chemistry degree at Virginia Commonwealth University. “I had a friend who had a modeling agent’s contact [information] and told me I should reach out to them,” Asiedu explains over Zoom. “I spoke to my mom about pivoting to [modeling], and she said, ‘No, you’re going to finish your degree.’” And so he did. After school, he started modeling, but his career didn’t really begin to progress until, on a whim, he moved to South Africa in 2015. There, in Johannesburg, Asiedu discovered he also had a knack for photography. Much of Asiedu’s work revolves around faces. Each tightly-cropped portrait is layered with color and light, revealing a dynamic face, full of emotion. On set, Asiedu aims to gain the model’s trust. When he can get the person in front of the camera to trust him and relax, he’s able to take a snapshot of what appears to be an intimate moment.

Ahead, we talk to Asiedu about being a self-taught photographer, his approach to his work, his inspirations, and more.

Courtesy of Yaw Asiedu

Courtesy of Yaw Asiedu

Coveteur: Why did you decide to move to South Africa?

Yaw Asiedu: “I had a photographer friend that came down [to South Africa] for a vacation, and he told me that he thought I’d do well in the modeling market there. So I bought a ticket and joined him on this trip, and he ended up being right. I got signed here [in 2016], so I lived in South Africa for a year. It went really well. And while I was here, I had my camera with me.

Going back a bit, when I was in college, I bought a small point-and-shoot camera just for fun to take photos of everyday life. And I brought that camera with me to South Africa. I lived with a bunch of models, so I started taking their photos. My agency liked the photos, so they were like, ‘Hey, why don’t we pay you to start taking photos of our models?’ So that’s how I really started off. That was my first paid gig, and I transitioned to full-time photography in 2018.”

Would you say that in regards to photography you’re self-taught?

YA: “Yes, I would say that. I am a student of and believer in YouTube University. I learned a lot from YouTube, but also [through] trial and error and just shooting a lot. Then I got lucky and interned for a photographer in New York City. Then I assisted a couple of photographers, and I learned a lot from them.”

Courtesy of Yaw Asiedu

Courtesy of Yaw Asiedu

Do you feel that because you’re self-taught, you don’t necessarily feel boxed in by those traditional rules?

YA: “I feel like it was very beneficial, especially being on the modeling side too. It gives me a bit of an advantage because I know what to say or do to make a model feel more comfortable on set. Not going to a traditional photography school or learning in a traditional way has helped me feel like I don’t have to subscribe to those rules. I can just keep trying different things and seeing what works for me.”

How would you describe your photography style?

YA: “I try to show the connection that the talent and I have through the image. So it’s clean, soulful, very crisp with aesthetically pleasing tones.”

What are your inspirations? Are there any artists that you’re drawn to?

YA: “When I first started, I was really drawn to Patrick Demarchelier and Peter Lindbergh’s work. They’re different in terms of how they approached light in their work, but both were influential to me. Peter usually did a lot of natural lighting, and he didn’t really like retouching at all. He hated retouching. And then there’s Patrick Demarchelier on the other side where he used strobes in the studio, usually one light. I also admire Irving Penn, Helmut Newton, and Steven Meisel. I draw a little bit from each one.”

Courtesy of Yaw Asiedu

Courtesy of Yaw Asiedu

Do you remember the first work of art you saw that had an emotional impact on you?

YA: “I went to the British Museum a while back, probably in 2015, and I saw a lot of African art that was stolen—or gifted, as they say—to the British. Seeing that art did kind of spark a little something in me. [The art] reminded me of back home, and it brought back memories of growing up in Ghana and being able to see those kinds of sculptures in the market or around the neighborhood.

I moved to the States when I was 11. I didn’t want to leave friends and family that I had back in Ghana at all. But I knew I didn’t have a choice because Mom already made that decision that we were going to move over to the States. We moved to Virginia when we first came here, and that’s where I grew up.”

Was there a culture shock?

YA: “Yeah, I would say that. I mean, I was still kind of a child, so there were some things that were done here that I was just like, ‘It’s kind of weird.’ I grew up in a place where it was a community—everybody took care of each other, everybody shared resources. And in the States, it’s completely different; there’s no real community in the neighborhood. Everybody really keeps to themselves.”

When did you feel comfortable calling yourself an artist?

YA: “I don’t even think I really have hit that point yet where I feel comfortable calling myself an artist per se. I’m still learning. There’s something I’m still looking for. I haven’t reached that point for myself. I know other people say all that stuff, but in my head, I haven’t really gotten there yet.”

The collected works of Yaw Asiedu are represented by Trunk Archive.

Art Market Eye | Can Inigo Philbrick return to the art market?

Art Market Eye | Can Inigo Philbrick return to the art market?

So Inigo Philbrick, the art market’s golden boy-turned-convicted fraudster, left jail in January this year, after less than four years into his seven-year sentence. He still has two years of supervised release to serve; as for the £70m he stiffed from colleagues, well, he’s supposed to start paying that back.

His fiancée and mother of his daughter Gaia-Grace, the Made in Chelsea star Victoria Baker-Harber, lost little time in announcing the happy news of his release to her 193,000 followers on Instagram, with a carefully styled image. Over 8,000 people expressed their approval, littering the comments with heart emojis. “I bursted [sic] into tears of joy…So happy for the three of you,” went one post…

Meanwhile, has Philbrick truly owned his wrongdoing, despite pleading guilty? “Of course I did things the wrong way,” he told Vanity Fair, “But creatively and with the best of intentions.” Eh? Tell that to those he sold part shares of artworks to, who are now embroiled in years of civil litigation to establish who the works actually belong to.

In a curious parallel, Philbrick sounds a bit like Sam Bankman-Fried, who has just been convicted of stealing $8bn from customers of FTX, his crypto company; he copped 25 years in prison (he is appealing the sentence).

“I made a series of bad decisions…They weren’t selfish decisions. They weren’t selfless decisions. They were bad decisions,” he told the court. Both men seem to be in denial, but there is a difference—Bankman-Fried will never be able to return to the financial sector, thanks to its regulatory framework. But Philbrick has already said he wants to get reestablished as an art dealer. And nothing can stop him, technically.

Indeed, there are other examples of dealers, convicted or merely tarnished, who have returned to the market after encounters with the law or even prison sentences.

Ezra Chowaiki wrote about his 18 months in prison for fraud—and once out, proclaimed: “I’m still selling paintings. From the minute I was released, I kept getting phone calls from people wanting to buy paintings from me, or wanting me to sell their paintings, or even partner with me. I’m good at dealing art.”

The celebrity art adviser Helge Achenbach, after leaving the jail where he had landed after defrauding clients, has written his memoirs and runs Culture without Borders, a centre for persecuted artists in Germany. Ann Freedman, who was splattered in the Knoedler faking scandal but was never accused of wrongdoing, still runs a Manhattan gallery. The convicted art faker Wolfgang Beltracchi continues to sell his paintings, now under his own name rather than that of Campendonk, Ernst or Derain.

So the chances of Philbrick returning to the market seem high; it is, after all, what he knows how to do. And as long as he can make money for clients, they may well be tempted to ignore his past—caveat emptor or not.