What happens when a colour is explored in its own right in times of shift? Louisa Chase follows a blue road home to the Lincolnshire fens
What Is Bluesky?—A Landscape Revealed by the Diffusion Experiment - Nightflight
Accessible Color Choices Are About So Much More Than Just Contrast - Sheri Byrne-Haber's Blog
Learn more about disability and accessibility in the business and educational settings from the expert in the field - Sheri Byrne Haber.
Where to Find the Colors Your Screen Can’t Show You
An atlas of the vibrance of the real world
The Color of Reason: The Idea of'Race'in Kant's Anthropology
Anthropology and Physical Geography. They were popular lectures attended by people from the general public. The present manual contains my lectures on anthropology. As to Physical Geography, however, it will not be possible, considering my age, to
One Morning at Lake Tūtira · Jos Buurmans Photography
Landscape Photography in the Fog
Dead Forest Theory
Internet darkness is turning into deadness and time is running out
Observing Information Diffusion Structure in Japanese Bluesky: A 48-Hour Path-Tracking Experiment - Nightflight
A Concordance of the Yellow Sign
I’m currently doing a deep dive into the mythology of the Yellow Sign and the King in Yellow. Originally created by Robert W. Chambers for his 1895 short story collection The King in Yellow, they
Habitat's road to release: 08 search - building [at] habitat
Bringing search to groups in Habitat!
The Great Season — 13FOREST Gallery
On Friday, January 24, 13FOREST Gallery will open The Great Season, an exhibition of new and recent acrylic work by painter Nicole Duennebier. Dark and sumptuous, The Great Season highlights a fantastical six-panel painting that associates the random beauty of nature with an elaborate 19th-century parlor game. Set against black backgrounds, Duennebier’s complex forms strongly refer to Baroque still-life paintings in which fruits and vegetables simultaneously emerge and pass into different stages of maturity. A key difference in Duennebier’s work is that, rather than render images of everyday objects, she bases them on her fascination with biology, particularly bacteria, fungi and other objects hidden from view. Referring to her use of darkness, the artist states that her inky backgrounds are “like a primordial soup, a pool of black that springs forth a decadent and sometimes horrible growth.” Each of the paintings in the show is associated with lush proliferation. In Bright Beast After Nature, for instance, a black background gives rise to a nebula of unfolding, biomorphic forms that seem to divide and overtake one another. Painted in thin, translucent layers, the work suggests a still life captured in only one of many stages it will eventually pass through. With Bright Beast Dissected View Duennebier gives an equally fantastic image of the engine behind such proliferation. Similar to vivisections seen in science textbooks, the painting shows the surface of a soft, woolly plant and the interior, biological source of its existence. In content the “engine” plays with the idea of a still life, but one made of flowers, vegetables and animal viscera. Duennebier’s centerpiece in The Great Season is a vast, six-panel painting titled, Hydnellum Myriorama. Its title refers to a type of fungus found in nature and to a Victorian card game – myriorama – in which children could arrange a series of illustrated cards to form hundreds of different landscapes. In Duennebier’s six panels are hybrid images that resemble Baroque still lifes, coral, fur, crystals and close-ups of microscopic fauna. Each of the forms emerges from nothing and stands bathed in a common light source. Despite the panels’ differing environments, Duennebier negates their importance by enabling viewers to arrange the panels into aesthetic experiences of their own choice. With Hydenellum Myriorama, the random potential of generation and decline in nature is given its parallel in art. Of her own work Duennebier states: “My interests in natural phenomenon (dermoid cysts, fungus, invasive flora/fauna) and my love of candied Old Master opulence always seem to be present in my painting… Painting with attention to detail, I’ve become accustomed to the fact that nature in itself, or anything living really, never totally allows you to have a perfectly idealized experience. Everything is always spewing, dripping, rotting a little.”
Ordinary Abundance
A walk through a modern apartment, through the eyes of the people for whom everything in it was new.
The Global Village Coffeehouse Aesthetic | Are.na Editorial
Woodcuts, tribal imagery, suns, curvy figures, aroma swirls, and earth tones: Evan Collins defines the look of the 90s
Color Names — 31,912 colors, named by people
Wander through 31,912 color names, each one chosen by a person: a space of color cards, each hanging where its color is. Free, MIT-licensed.