In 2010, photographer and conservationist Robin Moore set out on a global quest in search of frogs and salamanders that were last seen between 15 and 160 years ago. The undertaking was accompanied by over 120 scientists in 21 countries and took four years to complete.
It was worth the time and effort, however, and Moore’s journey produced some incredible rediscoveries, such as: the Ventriloquial Frog from Haiti, capable of throwing its voice, and the Borneo Rainbow Toad, which was unseen in 87 years. And, amusingly, a new species from Colombia was introduced called the “Monty Burns Toad,” which is reminiscent of the cartoon villain from The Simpsons.
From this quest came a book titled In Search of Lost Frogs, which includes information about the project and shows over 400 gorgeous photos of Moore’s findings. The sizes of each creature, their variations in color, and image quality are crystal clear. When you compare all the different frogs and salamanders, it’s remarkable just how many variations there are. It is that sentiment- one of hope and wonder – that Moore wants you to feel; to motivate you to care about the amphibians and the potential loss of their species. He explains:
As conservationists we often get so caught up in communicating what it is that we are losing that we forget to instill a sense of hope,” Moore says. “We need to revel in the weird and the wonderful, the maligned and the forgotten, for our world is a richer more wondrous place for them. Stories and images of discovery and rediscovery can help us to reconnect with our inner explorer – they can make us feel part of a bigger, wilder world. Rekindling a connection with the world beyond our concrete boxes is the key to caring about the way we are treating our natural world.
Victoria Wagner is an artist who is fascinated by unlikely pairings. Her set of gem-like sculptures called Woodrocks are comprised of wood and decorated with color, as she explains, “My eye generally and naturally tends toward tessellation and pattern, seeking a rhythm that mimics regular pulse. On the one hand, visual order provides a place for the senses to rest, while color relationships create problems for the brain to solve. I like this simultaneity.” The natural material and the unnatural oil pigments combine to create a precious object that’s small enough to be held comfortably.
Woodrocks serve as an iconic reference to the downed tree. They’re salvaged from local materials and painted to follow organic growth patterns and feature gradient spectrums.These sculptures were influenced by two books that Wagner read: The Golden Bough by Sir James Frazer and The Secret Life of Plants by Peter Tompkins and Christopher Bird. “Both pseudoscientific works that examine sentience among carbon-based life forms and human revelation, practical and metaphysical,” she explains. “Both books forced a recognition in my life-of my own personal reverence for the trees being downed in the forest surrounding my studio.” The result? Woodrocks.
Artist Henrik Aarrestad Uldalen combines something that we’ve seen many, many times throughout the history of art – figure painting. But, he does it with a contemporary approach. His moody paintings feature partially obscured people as they rest beneath the water. They are just below the surface of the dark, deep pool, and the light from their bodies is all that’s visible.
According to Uldalen’s artist statement, his work, “…explores the dark sides of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty. The atmosphere in his subject matter is often presented in a dream or limbo-like state, with elements of surrealism.” Although these figures are rendered realistically, they rest in a void with little additional visual information. We can’t be sure of where they are or what brought them there. And, for some, if they are dead or alive. It’s this open-ended narrative that gives drama to Uldalen’s paintings, and the hauntingly gorgeous images are the kind that will stay with you – even if you don’t want them to. (Via I Need a Guide)
Galleries come in all sizes, even in a really, really tiny scale. Swedish graphic designer and illustrator Henrik Franklin has created an installation that’s something you’d be more likely to see in a dollhouse than anywhere else. But, instead of a bedroom, it’s located at the Odenplan underground station at Gallery 1:10 in Stockholm, Sweden. The group exhibition is titled If You Tolerate This – an exhibition about resistance. Franklin’s piece features a library of colorful books, all small enough that you can hold between two fingers.
In a show centered around worries of the future and the holding on to hope, Franklin’s tiny books represent how important literature is in our development. It teaches us the lessons of the past so we won’t be doomed to repeat them; prose also encourages and inspires us to dream and to think differently.
If You Tolerate This – an exhibition about resistance is on view until December 6.
In the newly-published book titled Hollywood Frame by Frame, author Karina Longworth examines the contact sheet, a necessity in film making before the advent of digital technology. The prints were used by photographer as a way to review and edit their work, and the sheets contain small thumbnails of multiple shots. They were marked, scribbled on, carefully examined to find the perfect shot later used in advertising.
These sheets are alluring; not for how interesting and different each individual frame is, but it’s a tiny glimpse into what went on behind the scenes in famous films. You’re able to see what was and wasn’t chosen, as well as the outtakes. A description for Hollywood Frame by Frame describes it as, “…it’s often the photos not chosen that best capture the true spirit of their subjects and the life they lead after the director yells cut. This was never truer than in the classic Hollywood era, where behind-the-scenes photos were carefully vetted for marketing purposes and unapproved shots were never expected to be seen again.”
Some of the films included in the book are: Some Like It Hot, Breakfast at Tiffany’s, Taxi Driver, and Silence of the Lambs. It was published by Princeton Architectural Press.
From far away, you might not realize what’s on these porcelain pieces by Evelyn Bracklow for LA philia. But, upon closer inspection, you’ll notice that there are tiny painted ants that look like they’re travelling across plates, cups, saucers, and more. The German artist has permanently implanted this pest onto the very places that we don’t want them to be.
Despite someone’s potential aversion to the ants, these pieces are clever, unique, and beautifully crafted. The playful works are handmade in her studio, signed, numbered, and fired between 160 and 180 degrees. Glossy, gold rimmed, and vintage, the addition of these critters marrs the glossy white porcelain. But, that seems to be the point. Bracklow wants them to be unusual and catch the eyes of passer by, and she certainly does it. While some designs only feature the ants, other pieces have food on the plate and the ants hovering around it. Sounds appetizing, huh?
The pieces featuring food are part of a partnership between Bracklow, Rijks Museum in the Netherlands, and Etsy.
Photographer Gray Malin (@graymalin) takes us on a journey in his colorful, idyllic series titled Dreams. The sun-soaked images feature a herd of sheep whose coats are decorated with pink, purple, yellow, blue, and green pigment. Malin had the idea years before he actually made the work; he was inspired by a story about a Scottish sheep farmer who had colored the fleece of his flock in order to deter the thieves who had been stealing his sheep at night.
This powerful visual stuck with him for seven years. “I dreamed of creating a series where I could give these often overlooked animals a way to shine, bringing a rainbow of color to help inspire others to stand out and follow their own dreams.”
Malin consulted with a team of experts and eventually travelled to rural Australia where he worked hand-in-hand with a family of third-generation sheep farmers to make this series a reality. “Utilizing a non-toxic, vegetable dye that rinses off with water, the farmers misted each sheep with the same tool they use to administer a spray for ticks and lice,” he says.
Sheep yearn to be apart of a crowd; they prefer to blend in rather than stand out. So, each of Malin’s images are meant to encourage others to “wander from the flock” and go after their desires.
Brooklyn-based artist Elana Adler uses the traditional craft of an embroidery sampler to outline the crude things said to her by street harassers. The series is titled You Are My Duchess, and features small, decorative pieces of needlework (which historically feature bible stories or other imagery) that say some negative, disgusting things. Adler stores each saying in an elaborate frame, and writes in her artist statement:
This series of thirty-two (plus) samplers is intended to be provocative and evoke emotion. It is a contemporary feminist interpretation of women’s work and an objectification of my personal experience. Each captures a moment, giving these words a visual presence, a power, and a state of concreteness. These words were hurled casually and heard quickly but required hours of time-consuming, careful stitching.
The physically delicate, traditionally feminine, form of the piece engages the viewer and confronts him/ her with a sweetness that may mask its crassness and vulgarity.
She goes on to explain that the strength of this series comes in numbers. While you might read one and be amused, the more you read will change your response.
The inherent filth emerges. It is a beautification of an assault. Perhaps in the moment these statements are meant to compliment, but most don’t find vulgar, highly sexualized statements whispered or screamed at them by random strangers complimentary. Rather, they are an invasion of personal space. (Via Got a Girl Crush)