The Alphabet in Full Color

The Alphabet in Full Color

by Phoebe Morrison

ni tebahplA ehT roloC lluF nosirroM ebeohP yb

A Alice Neel Anna Atkins

Anna Atkins lived in England in the 1800s. She was one of a small group of women who became involved with early forms of photography. Atkins was in correspondence with the inventor of paper-negative photography or calotypes: William Henry Fox Talbot. Her relationship with the inventor allowed her to learn more about the process and participate in the new art form. “Their engagement with the medium suggests that photography presented itself as a pastime through which those consigned to domestic life might step beyond it.” (A History of Women Photographers 40) Anna Atkins was also family friends with John Herschel who discovered cyanotypes. This was a more permanent, cheaper and a simpler photographic form than the calotype.

For that reason it was more accessible for use. Anna Atkins used this method to document the species of algae in the British Isles. This was quick and accurate way to document the organic material. It was much more cost effective than hand drawn illustrations, which were the other option at the time. During the span of ten years Atkins made thousands of prints. She began binding her prints into editions. This made her the first person of either gender to do a longterm photographic study of nature.

Alice Neel’s career spanned from the 1920s to the early 1980s. Her work was not acknowledged during the bulk of her career. Female portrait painters were not very in style at the time. It wasn’t until the 1970s when the feminist movement made her work more relevant and her paintings entered the spotlight. Alice Neel worked exclusively in the realist style, which was uncommon for the period.

Abstraction was at its height but Neel remained loyal to realism. Neel is known for painting honest portraits that depict the hardships and realities of the human condition.

“Her world was a unique mixture of talent, courage, fear, responsibility, discipline, and honesty. To live in that world required a special strength of character, which her paintings reveal again and again.” (Alice Neel Painted Truths 10) In Neel’s portraits she was able to uncover a deeper emotion behind the eyes of all who sat for her. Alice Neel is a key example of a female painter in the 20th century.

A

eno saw ehS .s0081 eht ni dnalgnE ni devil sniktA annA ylrae htiw devlovni emaceb ohw nemow fo puorg llams a fo htiw ecnednopserroc ni saw sniktA .yhpargotohp fo smrof :sepytolac ro yhpargotohp evitagen-repap fo rotnevni eht eht htiw pihsnoitaler reH .toblaT xoF yrneH mailliW dna ssecorp eht tuoba erom nrael ot reh dewolla rotnevni htiw tnemegagne riehT“ .mrof tra wen eht ni etapicitrap sa flesti detneserp yhpargotohp taht stseggus muidem eht efil citsemod ot dengisnoc esoht hcihw hguorht emitsap a srehpargotohP nemoW fo yrotsiH A( ”.ti dnoyeb pets thgim lehcsreH nhoJ htiw sdneifr ylimaf osla saw sniktA annA )04 ,tnenamrep erom a saw sihT .sepytonayc derevocsid ohw .epytolac eht naht mrof cihpargotohp relpmis a dna repaehc sniktA annA .esu rof elbissecca erom saw ti nosaer taht roF eht ni eagla fo seiceps eht tnemucod ot dohtem siht desu tnemucod ot yaw etarucca dna kciuq saw sihT .selsI hsitirB naht evitceffe tsoc erom hcum saw tI .lairetam cinagro eht eht ta noitpo rehto eht erew hcihw ,snoitartsulli nward dnah sdnasuoht edam sniktA sraey net fo naps eht gniruD .emit sihT .snoitide otni stnirp reh gnidnib nageb ehS .stnirp fo -gnol a od ot redneg rehtie fo nosrep tsrfi eht reh edam .erutan fo yduts cihpargotohp mret ylrae eht ot s0291 eht mofr dennaps reerac s’leeN ecilA fo klub eht gnirud degdelwonkca ton saw krow reH .s0891 elyts ni yrev ton erew sretniap tiartrop elameF .reerac reh tsinimef eht nehw s0791 eht litnu t’nsaw tI .emit eht ta sgnitniap reh dna tnaveler erom krow reh edam tnemevom ni ylevisulcxe dekrow leeN ecilA .thgiltops eht deretne .doirep eht rof nommocnu saw hcihw ,elyts tsilaer eht ot layol deniamer leeN tub thgieh sti ta saw noitcartsbA taht stiartrop tsenoh gnitniap rof nwonk si leeN .msilaer .noitidnoc namuh eht fo seitilaer dna spihsdrah eht tciped ,raef ,egaruoc ,tnelat fo erutxim euqinu a saw dlrow reH“ dlrow taht ni evil oT .ytsenoh dna ,enilpicsid ,ytilibisnopser sgnitniap reh hcihw ,retcarahc fo htgnerts laiceps a deriuqer nI )01 shturT detniaP leeN ecilA( ”.niaga dna niaga laever noitome repeed a revocnu ot elba saw ehs stiartrop s’leeN yek a si leeN ecilA .reh rof tas ohw lla fo seye eht dniheb .yrutnec ht02 eht ni retniap elamef a fo elpmaxe

Alice Neel Anna Atkins

B Bridget Riley Bill Cunningham

Bridget Riley was born in London and grew up in the English suburbs. Her artistic career spanned 40 years and she has exhibited internationally. Growing up Riley’s mother taught her to observe her surroundings. “My mother took us out for walks on the cliff. She was always pointing out colours in the sea; the sparkle of dew; changes of colour when the dew was brushed away.” (Bridget Riley 12) Riley was inspired by impressionist art and the emphasis on color was translated into her work. In 1960 she began her abstract work focusing on the optical quality of color. Sight is very important in Riley’s work. She takes full advantage of the illusionistic quality that a combination of color and form can provide. Riley created works of varying formal complexity. Some pieces have a stronger emphasis on the form where others, like the stripe paintings, emphasize the coloristic relationships more. As Bridget Riley said herself, “They take you by surprise. They are sudden, swift, and unexpected.” (Bridget Riley Reconnaissance 11) Bill Cunningham began his passion for fashion photography during World War II. As a young boy he was very interested in the clothing women and began photographing the people who walked by him. “I just loved to see wonderfully dressed women, and I still do. That’s all there is to it.” (Bill on Bill) After spending a semester at Harvard University Cunningham moved to New York to try his hand in advertising. After leaving his job at the advertising firm he decided to make a career change and focus on his interest in fashion. In the beginning of the 1950s found his own apartment and began a hat company. After returning from the Korean War in 1953 Cunningham was asked to write a column for Women’s Wear Daily in New York. He went on to work for the Chicago Tribune, where he began working with photography in combination with writing. He was one of the first photographers to take an interest in capturing the style of the public. Currently Cunningham has a street style column for the New York Times. If you keep an eye out you might see him biking through the city with his cerulean jacket and camera in hand.

B

hsilgnE eht ni pu werg dna nodnoL ni nrob saw yeliR tegdirB ehs dna sraey 04 dennaps reerac citsitra reH .sbrubus rehtom s’yeliR pu gniworG .yllanoitanretni detibihxe sah koot rehtom yM“ .sgnidnuorrus reh evresbo ot reh thguat tuo gnitniop syawla saw ehS .ffilc eht no sklaw rof tuo su ruoloc fo segnahc ;wed fo elkraps eht ;aes eht ni sruoloc yeliR )21 yeliR tegdirB( ”.yawa dehsurb saw wed eht nehw no sisahpme eht dna tra tsinoisserpmi yb deripsni saw reh nageb ehs 0691 nI .krow reh otni detalsnart saw roloc thgiS .roloc fo ytilauq lacitpo eht no gnisucof krow tcartsba egatnavda lluf sekat ehS .krow s’yeliR ni tnatropmi yrev si dna roloc fo noitanibmoc a taht ytilauq citsinoisulli eht fo lamrof gniyrav fo skrow detaerc yeliR .edivorp nac mrof eht no sisahpme regnorts a evah seceip emoS .ytixelpmoc eht ezisahpme ,sgnitniap epirts eht ekil ,srehto erehw mrof ,flesreh dias yeliR tegdirB sA .erom spihsnoitaler citsiroloc dna ,ftiws ,neddus era yehT .esirprus yb uoy ekat yehT“ )11 ecnassiannoceR yeliR tegdirB( ”.detcepxenu yhpargotohp noihsaf rof noissap sih nageb mahgninnuC lliB detseretni yrev saw eh yob gnuoy a sA .II raW dlroW gnirud eht gnihpargotohp nageb dna nemow gnihtolc eht ni yllufrednow ees ot devol tsuj I“ .mih yb deklaw ohw elpoep lliB( ”.ti ot si ereht lla s’tahT .od llits I dna ,nemow desserd ytisrevinU dravraH ta retsemes a gnidneps reftA )lliB no ni dnah sih yrt ot kroY weN ot devom mahgninnuC eh mrfi gnisitrevda eht ta boj sih gnivael reftA .gnisitrevda tseretni sih no sucof dna egnahc reerac a ekam ot dediced nwo sih dnuof s0591 eht fo gninnigeb eht nI .noihsaf ni mofr gninruter reftA .ynapmoc tah a nageb dna tnemtrapa a etirw ot deksa saw mahgninnuC 3591 ni raW naeroK eht no tnew eH .kroY weN ni yliaD raeW s’nemoW rof nmuloc gnikrow nageb eh erehw ,enubirT ogacihC eht rof krow ot eno saw eH .gnitirw htiw noitanibmoc ni yhpargotohp htiw gnirutpac ni tseretni na ekat ot srehpargotohp tsrfi eht fo teerts a sah mahgninnuC yltnerruC .cilbup eht fo elyts eht eye na peek uoy fI .semiT kroY weN eht rof nmuloc elyts sih htiw ytic eht hguorht gnikib mih ees thgim uoy tuo .dnah ni aremac dna tekcaj naelurec

Bridget Riley Bill Cunningham

C Charley Harper

Charley Harper began his work, as an illustrator, by working on Betty Crocker’s Dinner for Two Cook Book.

Harper did not enjoy working on this kind of illustration because of its depiction of the happy housewife. Harper went on to illustrate The Giant Golden Book of Biology, which is when he discovered his love for drawing nature.

Harper grew up on his family farm in West Virginia.

Harper describes the joy he found in watching the water striders around his home. Although nature was always a big part of his life, Harper says he did not always know he wanted to work closely with it. After illustrating The Giant Golden Book of Biology, Harper began to develop a unique illustrative style that got him a lot of attention. He was an illustrator at Ford Times Magazine for 30 years. Ford hired Harper to help illustrate the lifestyle associated with having one of their cars. During this time Charley and his wife Edie worked together to sell mail-order prints of the illustrations that appeared in the magazine. Edie helped with preparing the inks for silk-screening.

Color has always been an important part of Harpers work.

When asked about the selection process for color he said, “They just seem the natural colors for me to use. The only way I have for deciding colors is to put swatches of paint on pieces of paper, and then put them together by laying one over the edge of the other to see how it goes with it.”

Harper’s style has been referred to as minimal realism, which I think, is an appropriate term for his use of color as well. The colors are vibrant but still retain an earthy tone.

This may be because of his use of brown instead of black to darken his colors. Over his lifetime Harper produced an enormous body of work that has brought joy to the world of illustration. His unique style is both informative and visually interesting.

C

yb ,rotartsulli na sa ,krow sih nageb repraH yelrahC .kooB kooC owT rof renniD s’rekcorC ytteB no gnikrow noitartsulli fo dnik siht no gnikrow yojne ton did repraH repraH .efiwesuoh yppah eht fo noitciped sti fo esuaceb ,ygoloiB fo kooB nedloG tnaiG ehT etartsulli ot no tnew .erutan gniward rof evol sih derevocsid eh nehw si hcihw .ainigriV tseW ni mraf ylimaf sih no pu werg repraH retaw eht gnihctaw ni dnuof eh yoj eht sebircsed repraH a syawla saw erutan hguohtlA .emoh sih dnuora sredirts eh wonk syawla ton did eh syas repraH ,efil sih fo trap gib tnaiG ehT gnitartsulli reftA .ti htiw ylesolc krow ot detnaw euqinu a poleved ot nageb repraH ,ygoloiB fo kooB nedloG saw eH .noitnetta fo tol a mih tog taht elyts evitartsulli droF .sraey 03 rof enizagaM semiT droF ta rotartsulli na htiw detaicossa elytsefil eht etartsulli pleh ot repraH derih sih dna yelrahC emit siht gniruD .srac rieht fo eno gnivah eht fo stnirp redro-liam lles ot rehtegot dekrow eidE efiw depleh eidE .enizagam eht ni deraeppa taht snoitartsulli .gnineercs-klis rof skni eht gniraperp htiw

.krow srepraH fo trap tnatropmi na neeb syawla sah roloC ,dias eh roloc rof ssecorp noitceles eht tuoba deksa nehW ylno ehT .esu ot em rof sroloc larutan eht mees tsuj yehT“ tniap fo sehctaws tup ot si sroloc gnidiced rof evah I yaw gniyal yb rehtegot meht tup neht dna ,repap fo seceip no ”.ti htiw seog ti woh ees ot rehto eht fo egde eht revo eno ,msilaer laminim sa ot derrefer neeb sah elyts s’repraH sa roloc fo esu sih rof mret etairporppa na si ,kniht I hcihw .enot yhtrae na niater llits tub tnarbiv era sroloc ehT .llew ot kcalb fo daetsni nworb fo esu sih fo esuaceb eb yam sihT na decudorp repraH emitefil sih revO .sroloc sih nekrad dlrow eht ot yoj thguorb sah taht krow fo ydob suomrone dna evitamrofni htob si elyts euqinu siH .noitartsulli fo .gnitseretni yllausiv

Charley Harper

D Desert Festival

The Jaisalmer Desert Festival is an annual three-day festival in February in the city of Jaisalmer in the state of Rajasthan, India. The city is located next to the Thar Desert. The festival is meant as a way for people to learn more about the rich cultural history of the area. The festival does not have a religious component, which is uncommon for Indian festivals. There are many different events at the festival such as a mustache contest, turban tying, beauty competitions, fire dancing, music and extravagantly decorated camels.

The festival begins with a procession of local people dressed in traditional clothing. The ceremony is called Shobha Yatra. There are also many puppeteers, acrobats and folk dancers at the festival who bring with them an array of colorful costumes and objects. Camels are at the center of the festivities with camel races and a polo match. The camels in the region are celebrated for their speed and agility, which brings more local pride to the event. “Dressed in vibrant and colorful attire, the people of Rajasthan sing and dance to lingering ballads of heroism, romance and tragedy of yore. Fireworks explode across the sky, splashing the landscape with even more bursts of color bringing the fort to life.� (Fest 300) The event is an explosion of color in the middle of a dry inhabitable landscape.

D lavitsef yad-eerht launna na si lavitseF treseD remlasiaJ ehT ,nahtsajaR fo etats eht ni remlasiaJ fo ytic eht ni yraurbeF ni ehT .treseD rahT eht ot txen detacol si ytic ehT .aidnI eht tuoba erom nrael ot elpoep rof yaw a sa tnaem si lavitsef evah ton seod lavitsef ehT .aera eht fo yrotsih larutluc hcir naidnI rof nommocnu si hcihw ,tnenopmoc suoigiler a hcus lavitsef eht ta stneve tnereffid ynam era erehT .slavitsef ,snoititepmoc ytuaeb ,gniyt nabrut ,tsetnoc ehcatsum a sa .slemac detaroced yltnagavartxe dna cisum ,gnicnad erfi desserd elpoep lacol fo noissecorp a htiw snigeb lavitsef ehT ahbohS dellac si ynomerec ehT .gnihtolc lanoitidart ni klof dna staborca ,sreeteppup ynam osla era erehT .artaY fo yarra na meht htiw gnirb ohw lavitsef eht ta srecnad retnec eht ta era slemaC .stcejbo dna semutsoc lufroloc ehT .hctam olop a dna secar lemac htiw seitivitsef eht fo dna deeps rieht rof detarbelec era noiger eht ni slemac desserD“ .tneve eht ot edirp lacol erom sgnirb hcihw ,ytiliga gnis nahtsajaR fo elpoep eht ,eritta lufroloc dna tnarbiv ni dna ecnamor ,msioreh fo sdallab gniregnil ot ecnad dna gnihsalps ,yks eht ssorca edolpxe skroweriF .eroy fo ydegart eht gnignirb roloc fo stsrub erom neve htiw epacsdnal eht roloc fo noisolpxe na si tneve ehT )003 tseF( �.efil ot trof .epacsdnal elbatibahni yrd a fo elddim eht ni

Desert Festival

E Emerald Envy

Emeralds have been highly valued in global culture for a long time. Since ancient times emeralds have been valued for their beauty and vibrant color. Cleopatra wore emeralds when she was trying to seduce Julius Caesar with her riches.

This worked in Cleopatra’s favor. When Elizabeth Taylor portrayed Cleopatra in the 1963 film she wore emerald eye-makeup and clothing in some scenes. In many cultures emerald is said to have supernatural capabilities. In Roman times emerald eyes are said to give sculptures mystical powers. “The Romans told a legend of a marble statue of a lion in Crete that had eyes made of emeralds and stood on a cliff overlooking the sea, near a fishing village. However the brilliance of its gaze was said to scare the tuna away and it was only when the fisherman prized out the precious stones that the shoals returned to their nets.” (Jewels a Secret History 195) Many sculptures from the Roman era had emerald or gemstone insets for eyes. These have since been prized out so it is not widely known that classical sculptures did, at one time, have this feature. In 1805 Napoleon Bonaparte gave an emerald tiara to Pope Pius vii. The tiara was inset with emeralds, which Napoleon had stolen from the Vatican Treasury years before. Napoleon had the emeralds made into a tiara which was intentionally too small and too heavy for the Pope to actually wear. Emeralds also have value in the Islamic culture. “Emeralds carried a strong sacred symbolism for Muslims. Green was the color of the Prophet Muhammad’s cloak, and it was therefore the color of Islam, as can be seen from the flags of many Islamic nations today.” (Jewels a Secret History 225) Emerald has an interesting and complex history, which gives another level of interest to the beautiful gem.

E

a rof erutluc labolg ni deulav ylhgih neeb evah sdlaremE deulav neeb evah sdlareme semit tneicna ecniS .emit gnol sdlareme erow artapoelC .roloc tnarbiv dna ytuaeb rieht rof .sehcir reh htiw raseaC suiluJ ecudes ot gniyrt saw ehs nehw rolyaT htebazilE nehW .rovaf s’artapoelC ni dekrow sihT dlareme erow ehs mlfi 3691 eht ni artapoelC deyartrop serutluc ynam nI .senecs emos ni gnihtolc dna puekam-eye namoR nI .seitilibapac larutanrepus evah ot dias si dlareme lacitsym serutplucs evig ot dias era seye dlareme semit a fo eutats elbram a fo dnegel a dlot snamoR ehT“ .srewop no doots dna sdlareme fo edam seye dah taht eterC ni noil revewoH .egalliv gnihsfi a raen ,aes eht gnikoolrevo ffilc a ti dna yawa anut eht eracs ot dias saw ezag sti fo ecnaillirb eht senots suoicerp eht tuo dezirp namrehsfi eht nehw ylno saw terceS a sleweJ( ”.sten rieht ot denruter slaohs eht taht dah are namoR eht mofr serutplucs ynaM )591 yrotsiH neeb ecnis evah esehT .seye rof stesni enotsmeg ro dlareme serutplucs lacissalc taht nwonk ylediw ton si ti os tuo dezirp noelopaN 5081 nI .erutaef siht evah ,emit eno ta ,did ehT .iiv suiP epoP ot arait dlareme na evag etrapanoB nelots dah noelopaN hcihw ,sdlareme htiw tesni saw arait eht dah noelopaN .erofeb sraey yrusaerT nacitaV eht mofr oot yllanoitnetni saw hcihw arait a otni edam sdlareme sdlaremE .raew yllautca ot epoP eht rof yvaeh oot dna llams a deirrac sdlaremE“ .erutluc cimalsI eht ni eulav evah osla roloc eht saw neerG .smilsuM rof msilobmys dercas gnorts eht erofereht saw ti dna ,kaolc s’dammahuM tehporP eht fo cimalsI ynam fo sgafl eht mofr nees eb nac sa ,malsI fo roloc sah dlaremE )522 yrotsiH terceS a sleweJ( ”.yadot snoitan rehtona sevig hcihw ,yrotsih xelpmoc dna gnitseretni na .meg lufituaeb eht ot tseretni fo level

Emerald Envy

F Fanciful Ferns

William Bligh introduced ferns to England in 1795. He brought them back on his travels from the West Indes. In the 19th century a fern craze began in Britain. Nathaniel Ward found a way to grow ferns in England. He discovered that the polluted air of London was killing the ferns but if they were kept in an enclosed space they would flourish.

Fern cases became extremely popular in the homes of the upper class. These cases were very elaborate and decorative but also helped to maintain the required temperature and moisture for the ferns. At one point the fern craze became so intense that conservation of ferns became an issue. It was becoming harder and harder to find ferns in nature as people were harvesting them from the forests surrounding London. One Victorian woman said, “We must have fern laws and preserve them like game.” (Ferns 10) When ferns became too expensive for the common man to purchase, people began buying dried ferns to frame and hang in their homes. Over time the fern receded into the background of botany. “The fern is at once the most popular and the most neglected of plants. It is often the first houseplant children are introduced to, since a fern in the parlor is an American tradition. It is usually the Boston fern, named for the city where it was first marketed in 1894. During the 1970s two million Boston ferns a year were being sold in the United States, about one to every 25 families.” (Ferns 7) Ferns made a big splash back into culture. This renewed interest can be accredited to the interest in protecting the environment as well as a series of fern related events in the botany world. In 1977 the New York Botanical Gardens hosted the first fern festival.

F

eH .5971 ni dnalgnE ot snref decudortni hgilB mailliW nI .sednI tseW eht mofr slevart sih no kcab meht thguorb leinahtaN .niatirB ni nageb ezarc nref a yrutnec ht91 eht derevocsid eH .dnalgnE ni snref worg ot yaw a dnuof draW tub snref eht gnillik saw nodnoL fo ria detullop eht taht .hsiruofl dluow yeht ecaps desolcne na ni tpek erew yeht fi eht fo semoh eht ni ralupop ylemertxe emaceb sesac nreF evitaroced dna etarobale yrev erew sesac esehT .ssalc reppu dna erutarepmet deriuqer eht niatniam ot depleh osla tub emaceb ezarc nref eht tniop eno tA .snref eht rof erutsiom tI .eussi na emaceb snref fo noitavresnoc taht esnetni os sa erutan ni snref dnfi ot redrah dna redrah gnimoceb saw gnidnuorrus stserof eht mofr meht gnitsevrah erew elpoep nref evah tsum eW “ ,dias namow nairotciV enO .nodnoL snref nehW )01 snreF( ”.emag ekil meht evreserp dna swal ,esahcrup ot nam nommoc eht rof evisnepxe oot emaceb rieht ni gnah dna emafr ot snref deird gniyub nageb elpoep dnuorgkcab eht otni dedecer nref eht emit revO .semoh eht dna ralupop tsom eht ecno ta si nref ehT“ .ynatob fo tnalpesuoh tsrfi eht nefto si tI .stnalp fo detcelgen tsom na si rolrap eht ni nref a ecnis ,ot decudortni era nerdlihc deman ,nref notsoB eht yllausu si tI .noitidart naciremA eht gniruD .4981 ni detekram tsrfi saw ti erehw ytic eht rof ni dlos gnieb erew raey a snref notsoB noillim owt s0791 snreF( ”.seilimaf 52 yreve ot eno tuoba ,setatS detinU eht dewener sihT .erutluc otni kcab hsalps gib a edam snreF )7 eht gnitcetorp ni tseretni eht ot detidercca eb nac tseretni eht ni stneve detaler nref fo seires a sa llew sa tnemnorivne snedraG lacinatoB kroY weN eht 7791 nI .dlrow ynatob .lavitsef nref tsrfi eht detsoh

Fanciful Ferns

G Gustav Klimt

Gustav Klimt began his formal artistic education at the Wiener Kunstgewerbeschule (Vienna School of Arts & Crafts) in 1876. At the time, Hans Makart was the favored painter in Vienna. “Makart had brought a new impetus to art both in Vienna and throughout central Europe by giving prominence to colour and its effects rather than to a picture’s subject-matter.” (Klimt 13) Makart’s work approached traditional subjects with a heavier emphasis on color while still staying close to the academic style. Klimt was introduced to Makart by one of his professors at the Vienna School of Arts & Crafts. Gustav Klimt became involved with a company that painted frescoes on ceilings and decorated theaters. He worked with other artists on various projects through the group from 1882 to 1885. By the time the company dissolved Klimt had been recognized as an artist in his own right.

In 1892 Gustav Klimt began the transition to modernism.

He moved away from the more traditional work he was doing previously in the neo-baroque style of Makart.

Klimt was one of the founding members of the Secessionist movement. He was the president of the group until 1899.

The Art Nouveau movement had influence on Gustav Klimt’s work. Women were the most common subjects of his work, which is also the case in most Art Nouveau movement. Klimt went on to create a series of friezes for the University, which were greatly scrutinized for their subject matter. In response to the criticism, Klimt began painting landscapes to temporarily remove himself. Shortly after, Klimt entered into the period for which he is most known. Between 1907 and 1908 he used a lot of gold in his paintings, which added to the decorative quality of his work.

“In the case of Klimt, however, ornamentation entered into everything, the slightest piece of empty space in a painting.

A wholly original inventiveness was at work. The richness of the decorative effects communicated itself to the overall picture.” (Klimt 114) Gustav Klimt did not listen to Adolf Loos warning and for good reason. His paintings are filled with color and pattern that add to the emotion of the overall piece.

G

eht ta noitacude citsitra lamrof sih nageb tmilK vatsuG & strA fo loohcS anneiV( eluhcsebrewegtsnuK reneiW derovaf eht saw trakaM snaH ,emit eht tA .6781 ni )sftarC sutepmi wen a thguorb dah trakaM“ .anneiV ni retniap yb eporuE lartnec tuohguorht dna anneiV ni htob tra ot naht rehtar stceffe sti dna ruoloc ot ecnenimorp gnivig krow s’trakaM )31 tmilK( ”.rettam-tcejbus s’erutcip a ot no sisahpme reivaeh a htiw stcejbus lanoitidart dehcaorppa tmilK .elyts cimedaca eht ot esolc gniyats llits elihw roloc eht ta srosseforp sih fo eno yb trakaM ot decudortni saw emaceb tmilK vatsuG .sftarC & strA fo loohcS anneiV sgniliec no seocsefr detniap taht ynapmoc a htiw devlovni no stsitra rehto htiw dekrow eH .sretaeht detaroced dna yB .5881 ot 2881 mofr puorg eht hguorht stcejorp suoirav dezingocer neeb dah tmilK devlossid ynapmoc eht emit eht .thgir nwo sih ni tsitra na sa

.msinredom ot noitisnart eht nageb tmilK vatsuG 2981 nI saw eh krow lanoitidart erom eht mofr yawa devom eH .trakaM fo elyts euqorab-oen eht ni ylsuoiverp gniod tsinoisseceS eht fo srebmem gnidnuof eht fo eno saw tmilK .9981 litnu puorg eht fo tnediserp eht saw eH .tnemevom vatsuG no ecneuflni dah tnemevom uaevuoN trA ehT stcejbus nommoc tsom eht erew nemoW .krow s’tmilK uaevuoN trA tsom ni esac eht osla si hcihw ,krow sih fo rof sezeifr fo seires a etaerc ot no tnew tmilK .tnemevom rieht rof deziniturcs yltaerg erew hcihw ,ytisrevinU eht nageb tmilK ,msicitirc eht ot esnopser nI .rettam tcejbus yltrohS .flesmih evomer yliraropmet ot sepacsdnal gnitniap tsom si eh hcihw rof doirep eht otni deretne tmilK ,refta sih ni dlog fo tol a desu eh 8091 dna 7091 neewteB .nwonk .krow sih fo ytilauq evitaroced eht ot dedda hcihw ,sgnitniap otni deretne noitatnemanro ,revewoh ,tmilK fo esac eht nI“ .gnitniap a ni ecaps ytpme fo eceip tsethgils eht ,gnihtyreve ssenhcir ehT .krow ta saw ssenevitnevni lanigiro yllohw A llarevo eht ot flesti detacinummoc stceffe evitaroced eht fo flodA ot netsil ton did tmilK vatsuG )411 tmilK( ”.erutcip dellfi era sgnitniap siH .nosaer doog rof dna gninraw sooL eht fo noitome eht ot dda taht nrettap dna roloc htiw .eceip llarevo

Gustav Klimt

H Jane Hammond

Jane Hammond established her reputation as a painter in the 1990s. Her work was coming out at a time when film, video, photography and performance art were very popular.

Hammond works very loyally with paper based art often combining found imagery with her-own illustrations in a form of collage. “Her captivating drawings and prints collage together myriad techniques and materials, as well as ideas and feelings, creating a stream of mental associations and visual stimuli.” (Jane Hammond Paperwork VI) Hammond has an extensive collection of books, which she draws inspiration from. Her collages include imagery from a wide range of subjects such as nature, pop-culture and maps. Hammond’s work is intended to reflect the overflow of imagery our society faces everyday with the introduction of the Internet. In 1993 Hammond commissioned John Ashbery to come up with 44 titles for her new work. She then spent the next eight years developing work that responded to the unusual titles. This emphasizes Hammond’s commitment to language as a key element in her work. John Ashbery spoke about the unusual nature of Hammond’s work saying, “Imagine that a pack of giant tarot cards has been washed away on a flood and ended up in the basement of a parking garage where a splinter group of freemasons is about to hold its annual revel. Or that you’ve landed on a Pilgrim’s Progress-like board game where almost every square spells trouble, in the form of a skull, a forbidding set of false teeth, or something less pointedly ominous. Or that you’ve wandered into the warehouse where the Ark of the Covenant got squirreled away in Raiders of the Lost Ark, on the day of its annual sale of unclaimed items, which include bats, butterflies, Balinese shadow-puppets, and a gargoyle in a Henry Darger pinafore.” (Jane Hammond 9) Ashbery perfectly explains the wondrous and slightly haunted world Hammond creates in her paintings. Jane Hammond’s work is representative of a new age of imagery where the lines are blurred between art forms.

H ni retniap a sa noitatuper reh dehsilbatse dnommaH enaJ ,mlfi nehw emit a ta tuo gnimoc saw krow reH .s0991 eht .ralupop yrev erew tra ecnamrofrep dna yhpargotohp ,oediv nefto tra desab repap htiw yllayol yrev skrow dnommaH ni snoitartsulli nwo-reh htiw yregami dnuof gninibmoc stnirp dna sgniward gnitavitpac reH“ .egalloc fo mrof a sa llew sa ,slairetam dna seuqinhcet dairym rehtegot egalloc snoitaicossa latnem fo maerts a gnitaerc ,sgnileef dna saedi )IV krowrepaP dnommaH enaJ( ”.ilumits lausiv dna ehs hcihw ,skoob fo noitcelloc evisnetxe na sah dnommaH mofr yregami edulcni segalloc reH .mofr noitaripsni sward dna erutluc-pop ,erutan sa hcus stcejbus fo egnar ediw a woflrevo eht tcefler ot dednetni si krow s’dnommaH .spam noitcudortni eht htiw yadyreve secaf yteicos ruo yregami fo nhoJ denoissimmoc dnommaH 3991 nI .tenretnI eht fo neht ehS .krow wen reh rof seltit 44 htiw pu emoc ot yrebhsA dednopser taht krow gnipoleved sraey thgie txen eht tneps s’dnommaH sezisahpme sihT .seltit lausunu eht ot nhoJ .krow reh ni tnemele yek a sa egaugnal ot tnemtimmoc s’dnommaH fo erutan lausunu eht tuoba ekops yrebhsA sah sdrac torat tnaig fo kcap a taht enigamI“ ,gniyas krow tnemesab eht ni pu dedne dna doofl a no yawa dehsaw neeb snosameefr fo puorg retnilps a erehw egarag gnikrap a fo no dednal ev’uoy taht rO .lever launna sti dloh ot tuoba si yreve tsomla erehw emag draob ekil-ssergorP s’mirgliP a gniddibrof a ,lluks a fo mrof eht ni ,elbuort slleps erauqs rO .suonimo yldetniop ssel gnihtemos ro ,hteet eslaf fo tes fo krA eht erehw esuoheraw eht otni derednaw ev’uoy taht tsoL eht fo srediaR ni yawa delerriuqs tog tnanevoC eht hcihw ,smeti demialcnu fo elas launna sti fo yad eht no ,krA a dna ,steppup-wodahs esenilaB ,seiflrettub ,stab edulcni dnommaH enaJ( ”.erofanip regraD yrneH a ni elyograg ylthgils dna suordnow eht snialpxe yltcefrep yrebhsA )9 enaJ .sgnitniap reh ni setaerc dnommaH dlrow detnuah yregami fo ega wen a fo evitatneserper si krow s’dnommaH .smrof tra neewteb derrulb era senil eht erehw

Jane Hammond

I Islamic Tiles

There is a strong tradition of decorative tile in Islamic cultures, tiles are commonly used in Islamic culture to add decoration to architecture. “Together with mural painting and stucco, tiles brought colour and lavish designs to mosques and shrines, palaces and private houses.� (Islamic Tiles Ventia Porter 8) The imagery on Islamic tiles ranges from secular to non-secular. In early Islamic tiles figures were depicted in detail. It was not until later that religion began to ban the representation of living things. Nonsecular tiles became more focused on geometrics. Text is also a common aspect of tile decoration.

The Seljug and Il-Khanid periods are the first big periods for the creation of tile in Islamic culture. The two periods contained a lot of architectural growth. New monuments and buildings were built at this time calling for a lot of decorative tiles to be made to adorn the splendor of the architecture. In the middle of the 1200s tile production fell dramatically because of the Mongol invasion. There are very few examples of tile from this period.

Men commonly did ceramic work. In many cases one craftsman would create the tile and another would decorate it. For this reason it is hard to determine who should take credit for the work. If a tile is signed it is unclear if it is the signature of the ceramicist or the painter. In most cases tile is not signed at all. The town of Kashan in Iran is known to have been one of the primary producers of ceramics.

Blue and turquoise are the most commonly used colors in Islamic tiles. Turquoise is made from alkaline glaze mixed with tin and copper. The tiles take many forms. Some are simply square but others take on a star shape. The geometry of both the tile and its decoration are very complex. The aesthetic of Islamic tile has spread into many surrounding countries. Spain has been heavily influenced by the Islamic tile work due to the Moorish occupation in Spain.

I

cimalsI ni elit evitaroced fo noitidart gnorts a si erehT dda ot erutluc cimalsI ni desu ylnommoc era selit ,serutluc gnitniap larum htiw rehtegoT“ .erutcetihcra ot noitaroced ot sngised hsival dna ruoloc thguorb selit ,occuts dna cimalsI( �.sesuoh etavirp dna secalap ,senirhs dna seuqsom segnar selit cimalsI no yregami ehT )8 retroP aitneV seliT serugfi selit cimalsI ylrae nI .raluces-non ot raluces mofr noigiler taht retal litnu ton saw tI .liated ni detciped erew -noN .sgniht gnivil fo noitatneserper eht nab ot nageb si txeT .scirtemoeg no desucof erom emaceb selit raluces .noitaroced elit fo tcepsa nommoc a osla sdoirep gib tsrfi eht era sdoirep dinahK-lI dna gujleS ehT sdoirep owt ehT .erutluc cimalsI ni elit fo noitaerc eht rof stnemunom weN .htworg larutcetihcra fo tol a deniatnoc fo tol a rof gnillac emit siht ta tliub erew sgnidliub dna eht fo rodnelps eht nroda ot edam eb ot selit evitaroced noitcudorp elit s0021 eht fo elddim eht nI .erutcetihcra erehT .noisavni lognoM eht fo esuaceb yllacitamard llef .doirep siht mofr elit fo selpmaxe wef yrev era eno sesac ynam nI .krow cimarec did ylnommoc neM etaroced dluow rehtona dna elit eht etaerc dluow namsftarc ekat dluohs ohw enimreted ot drah si ti nosaer siht roF .ti eht si ti fi raelcnu si ti dengis si elit a fI .krow eht rof tiderc elit sesac tsom nI .retniap eht ro tsicimarec eht fo erutangis nwonk si narI ni nahsaK fo nwot ehT .lla ta dengis ton si .scimarec fo srecudorp yramirp eht fo eno neeb evah ot ni sroloc desu ylnommoc tsom eht era esiouqrut dna eulB dexim ezalg enilakla mofr edam si esiouqruT .selit cimalsI era emoS .smrof ynam ekat selit ehT .reppoc dna nit htiw yrtemoeg ehT .epahs rats a no ekat srehto tub erauqs ylpmis ehT .xelpmoc yrev era noitaroced sti dna elit eht htob fo gnidnuorrus ynam otni daerps sah elit cimalsI fo citehtsea cimalsI eht yb decneuflni ylivaeh neeb sah niapS .seirtnuoc .niapS ni noitapucco hsirooM eht ot eud krow elit

Islamic Tiles

J Jiggling Jell-O

Gelatin is the main ingredient in Jell-O, which has been a delicacy in dinning since the 15th century. It is a protein with no taste, which is made from collagen found in animal tissue and boiled bones. The making of gelatin deserts was extremely time intensive and was used in the Victorian age to make flavored desserts. It became increasingly popular in America in the 19th century. The process was still too difficult to produce with ease. In 1845 the inventor of the first American-built steam locomotive began working on a way to make gelatin more accessible to a wider audience. He found a way to make it into a powder, which could be boxed and made into gelatin with hot water. Despite his fantastic invention he never produced it commercially or tried to market it. Years later a couple named Pearl and May Wait bought the patent for powdered gelatin. They found a way to add sugary fruit syrups to the mixture. They named the product Jell-O. Adding O to a name was a popular trend in product naming at the time. The couple ended up selling the formula and patent to Orator Frank Woodward who owned the Genesee Food Company. Woodward was a successful businessman who was capable of marketing and getting a product sold. He began advertising the product in Ladies Home Journal in 1904. The ads claimed that Jell-O was America’s dessert even though that was not yet the case. The ads greatly improved sales. He also produced Jell-O recipe books and handed out free Jell-O molds to immigrants coming through Ellis Island. The product became extremely popular because of the vibrantly colored advertisements. The color of Jell-O was very important to the product. It helped to market it as a family friendly desert and not as something reserved to the upper class as it once was.

J

a neeb sah hcihw ,O-lleJ ni tneidergni niam eht si nitaleG nietorp a si tI .yrutnec ht51 eht ecnis gninnid ni ycaciled lamina ni dnuof negalloc mofr edam si hcihw ,etsat on htiw saw stresed nitaleg fo gnikam ehT .senob deliob dna eussit ega nairotciV eht ni desu saw dna evisnetni emit ylemertxe ralupop ylgnisaercni emaceb tI .stressed derovafl ekam ot oot llits saw ssecorp ehT .yrutnec ht91 eht ni aciremA ni eht fo rotnevni eht 5481 nI .esae htiw ecudorp ot tlucffiid a no gnikrow nageb evitomocol maets tliub-naciremA tsrfi eH .ecneidua rediw a ot elbissecca erom nitaleg ekam ot yaw dexob eb dluoc hcihw ,redwop a otni ti ekam ot yaw a dnuof citsatnaf sih etipseD .retaw toh htiw nitaleg otni edam dna ot deirt ro yllaicremmoc ti decudorp reven eh noitnevni tiaW yaM dna lraeP deman elpuoc a retal sraeY .ti tekram yaw a dnuof yehT .nitaleg deredwop rof tnetap eht thguob eht deman yehT .erutxim eht ot spurys tiufr yragus dda ot dnert ralupop a saw eman a ot O gniddA .O-lleJ tcudorp pu dedne elpuoc ehT .emit eht ta gniman tcudorp ni drawdooW knarF rotarO ot tnetap dna alumrof eht gnilles a saw drawdooW .ynapmoC dooF eeseneG eht denwo ohw dna gnitekram fo elbapac saw ohw namssenisub lufsseccus tcudorp eht gnisitrevda nageb eH .dlos tcudorp a gnitteg taht demialc sda ehT .4091 ni lanruoJ emoH seidaL ni tey ton saw taht hguoht neve tressed s’aciremA saw O-lleJ decudorp osla eH .selas devorpmi yltaerg sda ehT .esac eht sdlom O-lleJ eefr tuo dednah dna skoob epicer O-lleJ tcudorp ehT .dnalsI sillE hguorht gnimoc stnargimmi ot deroloc yltnarbiv eht fo esuaceb ralupop ylemertxe emaceb tnatropmi yrev saw O-lleJ fo roloc ehT .stnemesitrevda yldneifr ylimaf a sa ti tekram ot depleh tI .tcudorp eht ot sa ssalc reppu eht ot devreser gnihtemos sa ton dna tresed .saw ecno ti

Jiggling Jell-O

K Corita Kent

Corita Kent worked as the head of the art department at the Immaculate Heart College in Los Angeles for many years gaining a level of celebrity in the community and in the larger art community for her modernity as a nun.

Her work was admired by the likes of Charles and Ray Eames and Buckminster Fuller. Her collages received critical acclaim and she began giving lectures and holding exhibitions while she continued to teach. She received a lot of attention for being an example of a new generation of nuns. Kent helped to organize a series of lectures at the Immaculate Heart with guests such as Saul Bass, John Cage, Herbert Bayer and Alfred Hitchcock. Corita Kent also had the responsibility of re-envisioning the college’s event “Mary’s Day,” which celebrated the school’s namesake. Kent found a way to make the event more lively and current by developing a theme for each year and having the girls create art specifically for the parade.

While on sabbatical in 1968 she left her position as the chair of the art department and decided to leave her religious community in Los Angeles. During this time her work began to change. She opted for more saturated colors rather than the rich muted colors she used previously. Kent was very influenced by packaging and signage and found text.

“Our colors are the colors of the marketplace, the colors of life-giving foods, and our sounds are the sounds of the here and now” (Come Alive! 20) Kent really emphasized being aware when out in the world. Kent would take her students on field trips to hunt for text in the environment and observe it using viewfinders. Her work was a response to the culture that surrounded her. “I really love the look of letters- the letters themselves become a kind of subject matter even apart from their meaning- like apples or oranges for artists.” (Someday is Now 10) Corita Kent’s work is a feast for the eyes and shows the joy she took in all things visual.

K

ta tnemtraped tra eht fo daeh eht sa dekrow tneK atiroC ynam rof selegnA soL ni egelloC traeH etalucammI eht dna ytinummoc eht ni ytirbelec fo level a gniniag sraey .nun a sa ytinredom reh rof ytinummoc tra regral eht ni yaR dna selrahC fo sekil eht yb derimda saw krow reH deviecer segalloc reH .relluF retsnimkcuB dna semaE gnidloh dna serutcel gnivig nageb ehs dna mialcca lacitirc a deviecer ehS .hcaet ot deunitnoc ehs elihw snoitibihxe noitareneg wen a fo elpmaxe na gnieb rof noitnetta fo tol eht ta serutcel fo seires a ezinagro ot depleh tneK .snun fo ,egaC nhoJ ,ssaB luaS sa hcus stseug htiw traeH etalucammI osla tneK atiroC .kcochctiH defrlA dna reyaB trebreH tneve s’egelloc eht gninoisivne-er fo ytilibisnopser eht dah tneK .ekaseman s’loohcs eht detarbelec hcihw ”,yaD s’yraM“ yb tnerruc dna ylevil erom tneve eht ekam ot yaw a dnuof etaerc slrig eht gnivah dna raey hcae rof emeht a gnipoleved .edarap eht rof yllacfiiceps tra riahc eht sa noitisop reh ftel ehs 8691 ni lacitabbas no elihW suoigiler reh evael ot dediced dna tnemtraped tra eht fo krow reh emit siht gniruD .selegnA soL ni ytinummoc rehtar sroloc detarutas erom rof detpo ehS .egnahc ot nageb saw tneK .ylsuoiverp desu ehs sroloc detum hcir eht naht .txet dnuof dna egangis dna gnigakcap yb decneuflni yrev sroloc eht ,ecalptekram eht fo sroloc eht era sroloc ruO“ eht fo sdnuos eht era sdnuos ruo dna ,sdoof gnivig-efil fo dezisahpme yllaer tneK )02 !evilA emoC( ”won dna ereh reh ekat dluow tneK .dlrow eht ni tuo nehw erawa gnieb tnemnorivne eht ni txet rof tnuh ot spirt dlefi no stneduts esnopser a saw krow reH .srednfiweiv gnisu ti evresbo dna kool eht evol yllaer I“ .reh dednuorrus taht erutluc eht ot tcejbus fo dnik a emoceb sevlesmeht srettel eht -srettel fo ro selppa ekil -gninaem rieht mofr trapa neve rettam s’tneK atiroC )01 woN si yademoS( ”.stsitra rof segnaro lla ni koot ehs yoj eht swohs dna seye eht rof tsaef a si krow .lausiv sgniht

Corita Kent

L Lake Hillier Luoping China

Lake Hillier is located on Middle Island of the Recherché Archipelago off the coast of Esperance in Australia. The lake is roughly 600 meters long and is surrounded by a dense forest of paper bark and eucalyptus trees. The lake is known for its unusual and vibrant bubblegum pink water.

The lake looks like something from a Doctor Seuss book because of its bubble gum pink water. The color of the lake has been a topic of discussion for quite some time. The lake was first mentioned in the exploration journals of Matthew Flinders in 1802. It is not completely clear what causes the lake’s color. Lake Hillier is not the only pink lake. In other examples it has been confirmed that bacteria in the lake cause the pink color. Lake Hillier is slightly different form other lakes because the color does not change based on the air temperature or season. “Some speculate that Lake Hillier’s color, like that of the other lakes, is a result of high salinity combined with the presence of a salt-loving algae species known as Dunaliella salina and pink bacteria known as halo bacteria.” (Atlas Obscura) For now the color of Lake Hillier will remain a mystery.

The small county is located in eastern Yunnan, China.

The county is known for its large rolling fields of rapeseed flowers. The flowers bloom in early spring from February to March. The flowers are small and bright golden yellow.

They are grown as a source of cooking oil. When the flowers die the seeds are harvested. The flowering fields attract bees, which makes it a great site for beekeepers. The area is a national center for raising bees and producing honey products. The flowers bloom at different times based on the climate in the area. Beekeepers move around the region, following blooms to keep their bee population fed. The fields are broken up by hills and small rocky-mountains, which just add to the beautiful glowing landscape.

L

éhcrehceR eht fo dnalsI elddiM no detacol si reilliH ekaL ehT .ailartsuA ni ecnarepsE fo tsaoc eht ffo ogalepihcrA a yb dednuorrus si dna gnol sretem 006 ylhguor si ekal si ekal ehT .seert sutpylacue dna krab repap fo tserof esned .retaw knip mugelbbub tnarbiv dna lausunu sti rof nwonk koob ssueS rotcoD a mofr gnihtemos ekil skool ekal ehT ekal eht fo roloc ehT .retaw knip mug elbbub sti fo esuaceb ekal ehT .emit emos etiuq rof noissucsid fo cipot a neeb sah wehttaM fo slanruoj noitarolpxe eht ni denoitnem tsrfi saw sesuac tahw raelc yletelpmoc ton si tI .2081 ni srednilF nI .ekal knip ylno eht ton si reilliH ekaL .roloc s’ekal eht eht ni airetcab taht demrfinoc neeb sah ti selpmaxe rehto tnereffid ylthgils si reilliH ekaL .roloc knip eht esuac ekal desab egnahc ton seod roloc eht esuaceb sekal rehto mrof taht etaluceps emoS“ .nosaes ro erutarepmet ria eht no tluser a si ,sekal rehto eht fo taht ekil ,roloc s’reilliH ekaL gnivol-tlas a fo ecneserp eht htiw denibmoc ytinilas hgih fo airetcab knip dna anilas alleilanuD sa nwonk seiceps eagla roloc eht won roF )arucsbO saltA( ”.airetcab olah sa nwonk .yretsym a niamer lliw reilliH ekaL fo .anihC ,nannuY nretsae ni detacol si ytnuoc llams ehT deesepar fo sdlefi gnillor egral sti rof nwonk si ytnuoc ehT yraurbeF mofr gnirps ylrae ni moolb srewofl ehT .srewofl .wolley nedlog thgirb dna llams era srewofl ehT .hcraM ot srewofl eht nehW .lio gnikooc fo ecruos a sa nworg era yehT tcartta sdlefi gnirewofl ehT .detsevrah era sdees eht eid aera ehT .srepeekeeb rof etis taerg a ti sekam hcihw ,seeb yenoh gnicudorp dna seeb gnisiar rof retnec lanoitan a si no desab semit tnereffid ta moolb srewofl ehT .stcudorp ,noiger eht dnuora evom srepeekeeB .aera eht ni etamilc eht ehT .def noitalupop eeb rieht peek ot smoolb gniwollof ,sniatnuom-ykcor llams dna sllih yb pu nekorb era sdlefi .epacsdnal gniwolg lufituaeb eht ot dda tsuj hcihw

Lake Hillier Luoping China

M Marvelous Missoni

Missoni began in 1958 with the collection ‘Milano-Sympathy’. The brand was created my Ottavio and Rosita Missoni when they decided to open a textile workshop in the basement of their home. The Missoni’s saw the opportunity to use weaving machinery for more complex uses than had previously been done. They created a line of high-end clothing that has left a mark in the history of fashion. The company is a multi-generational family business. Many of the Missoni children have become involved in different facets of the company. The textiles created by Missoni are unique and full of vibrant and unique color combinations.

“There has never been a lack of influences reflecting an interest in art, in remote cultures, in different attitudes to colour absorbed during travels around the world and related to sybologies, to rituals and to continuously fresh and enlightened interpretations.” (Missoni 29) The Missoni brand was elevated to cult status with the help of the fashion editor Anna Piagi. She showed the clothes in her magazine, which helped to spread the word about the unique new clothing. Anna Piagi said, “To cover one’s body with the sand of the Sahara, with the frosting flowers of a Viennese cake, with Persian miniatures, with playing cards, or with mosaics from Ravenna, the tiles of San Marco, with butterflies, postcards, wristwatches, Victorian toys? The visual character of fashion by Missoni- symbols, colours, materials, forms- such an integral part of a unique style, has represented one of the most meaningful stimuli during the course of my career as a writer.” (Missoni 31) Missoni’s fabric has the ability to inspire the wearer through their colors.

M -myS-onaliM‘ noitcelloc eht htiw 8591 ni nageb inossiM -siM atisoR dna oivattO ym detaerc saw dnarb ehT .’yhtap eht ni pohskrow elitxet a nepo ot dediced yeht nehw inos -utroppo eht was s’inossiM ehT .emoh rieht fo tnemesab naht sesu xelpmoc erom rof yrenihcam gnivaew esu ot ytin dne-hgih fo enil a detaerc yehT .enod neeb ylsuoiverp dah ehT .noihsaf fo yrotsih eht ni kram a ftel sah taht gnihtolc fo ynaM .ssenisub ylimaf lanoitareneg-itlum a si ynapmoc tnereffid ni devlovni emoceb evah nerdlihc inossiM eht era inossiM yb detaerc selitxet ehT .ynapmoc eht fo stecaf .snoitanibmoc roloc euqinu dna tnarbiv fo lluf dna euqinu -ni na gnitcefler secneuflni fo kcal a neeb reven sah erehT“ ot sedutitta tnereffid ni ,serutluc etomer ni ,tra ni tseret -er dna dlrow eht dnuora slevart gnirud debrosba ruoloc dna hsefr ylsuounitnoc ot dna slautir ot ,seigolobys ot detal inossiM ehT )92 inossiM( ”.snoitaterpretni denethgilne -hsaf eht fo pleh eht htiw sutats tluc ot detavele saw dnarb -gam reh ni sehtolc eht dewohs ehS .igaiP annA rotide noi euqinu eht tuoba drow eht daerps ot depleh hcihw ,eniza htiw ydob s’eno revoc oT“ ,dias igaiP annA .gnihtolc wen -neiV a fo srewofl gnitsofr eht htiw ,arahaS eht fo dnas eht ro ,sdrac gniyalp htiw ,serutainim naisreP htiw ,ekac esen htiw ,ocraM naS fo selit eht ,annevaR mofr sciasom htiw ehT ?syot nairotciV ,sehctawtsirw ,sdractsop ,seiflrettub ,sruoloc ,slobmys -inossiM yb noihsaf fo retcarahc lausiv ,elyts euqinu a fo trap largetni na hcus -smrof ,slairetam gnirud ilumits lufgninaem tsom eht fo eno detneserper sah -siM )13 inossiM( ”.retirw a sa reerac ym fo esruoc eht hguorht reraew eht eripsni ot ytiliba eht sah cirbaf s’inos .sroloc rieht

Marvelous Missoni

N Nick Cave

Nick cave is a contemporary artist who works between mediums to create moving sculpture. Cave studied fiber arts in college and went on to become a member of the Alvin Ailey Dance Company. Cave has combined his interest in the making of what he calls, “Soundsuits”. The soundsuits are large costumes, which are then incorporated into a dance-based performance. Cave began making these suits after the Rodney King beating in 1992. “It made me think of ideas around protest, and how we should be a voice and speak louder.” Identity is hugely important in Cave’s work.

As an African-American homosexual male he has thought a lot about the perception society has of people. The suits allow for the wearer to take on a new identity separate from their own.

Nick Cave grew up in a large modest family in the MidWest. As a child he would often collect found objects to add more personal touches to his hand-me-downs. The tradition of collecting is reflected in his current work.

“Nick Cave’s work explores issues of ceremony, ritual, myth, and identity. He does this through a layering of concepts, highly-skilled techniques and varied traditions, using materials such as manufactured and hand made fabrics, beads, sequins, old bottle caps, rusted iron, plastic, sticks, twigs, leaves, hair.” (18) These materials are used in a skillful way to create dense colorful costumes full of visual interest. These pieces take on a similar dimension in their sculptural quality. “Black artistic expression often involves taking the sonic fragments and cultural leftovers of dominant culture and making a black cultural product that is desirable, even irresistible to the margins and the mainstream. The beauty of black culture is its ability to recreate and reinvent itself as the great next thing in the long evolution of creative possibilities, at precisely the moment it’s being written off.” (27) Some might argue that Nick Cave has taken on the responsibility of moving African art into a new era.

N neewteb skrow ohw tsitra yraropmetnoc a si evac kciN rebfi deiduts evaC .erutplucs gnivom etaerc ot smuidem nivlA eht fo rebmem a emoceb ot no tnew dna egelloc ni stra ni tseretni sih denibmoc sah evaC .ynapmoC ecnaD yeliA stiusdnuos ehT .”stiusdnuoS“ ,sllac eh tahw fo gnikam eht a otni detaroprocni neht era hcihw ,semutsoc egral era stius eseht gnikam nageb evaC .ecnamrofrep desab-ecnad kniht em edam tI“ .2991 ni gnitaeb gniK yendoR eht refta dna eciov a eb dluohs ew woh dna ,tsetorp dnuora saedi fo .krow s’evaC ni tnatropmi yleguh si ytitnedI ”.reduol kaeps thguoht sah eh elam lauxesomoh naciremA-nacifrA na sA stius ehT .elpoep fo sah yteicos noitpecrep eht tuoba tol a mofr etarapes ytitnedi wen a no ekat ot reraew eht rof wolla .nwo rieht

-diM eht ni ylimaf tsedom egral a ni pu werg evaC kciN ot stcejbo dnuof tcelloc nefto dluow eh dlihc a sA .tseW ehT .snwod-em-dnah sih ot sehcuot lanosrep erom dda .krow tnerruc sih ni detcefler si gnitcelloc fo noitidart ,lautir ,ynomerec fo seussi serolpxe krow s’evaC kciN“ fo gnireyal a hguorht siht seod eH .ytitnedi dna ,htym ,snoitidart deirav dna seuqinhcet delliks-ylhgih ,stpecnoc edam dnah dna derutcafunam sa hcus slairetam gnisu ,citsalp ,nori detsur ,spac elttob dlo ,sniuqes ,sdaeb ,scirbaf desu era slairetam esehT )81( ”.riah ,sevael ,sgiwt ,skcits fo lluf semutsoc lufroloc esned etaerc ot yaw luflliks a ni noisnemid ralimis a no ekat seceip esehT .tseretni lausiv nefto noisserpxe citsitra kcalB“ .ytilauq larutplucs rieht ni srevoftel larutluc dna stnemgafr cinos eht gnikat sevlovni tcudorp larutluc kcalb a gnikam dna erutluc tnanimod fo eht dna snigram eht ot elbitsiserri neve ,elbarised si taht -er ot ytiliba sti si erutluc kcalb fo ytuaeb ehT .maertsniam gnol eht ni gniht txen taerg eht sa flesti tnevnier dna etaerc tnemom eht ylesicerp ta ,seitilibissop evitaerc fo noitulove kciN taht eugra thgim emoS )72( ”.ffo nettirw gnieb s’ti tra nacifrA gnivom fo ytilibisnopser eht no nekat sah evaC .are wen a otni

Nick Cave

O Outrageous Orchids

The orchid has been a subject of fascination for centuries.

In 1818 William Cattley received some orchids in a shipment of plants from Brazil. Against all odds he was able to raise an orchid to bloom in his greenhouse. The flower had not been introduced to England at the time so when the plant bloomed the vibrant purple and unusual shape shocked him. The sixth Duke of Devonshire developed a deep affection for orchids after seeing them at the 1833 Royal Horticultural Society exhibition. He was so inspired that he built a football field size conservatory to house his botanical exploits. There are many reasons why the orchid became popular, “Whether we consider the general elegance of individuals, durability of blossoms, splendid colours, delicious perfume, or extraordinary structure, it would be difficult to select any order superior to Orchideae in these respects, and few even equal to them.”

(The Orchid Paintings of John Day 11) The orchid is the largest floral family. There are roughly 30,000 species known. Many varieties have been creating because of the plants ability to mix between genera. There is wide range of petal shape, color, and pattern; which has made the orchid a very collectible commodity in the horticultural arena. Some collectors find the range too daunting and specialize in one aspect of orchids. “For one devotee the familiar lavender corsage orchid started a ‘passionate purple’ collection; he now has more than 75 plants with blooms ranging from palest violet to a purple so dark it is almost-but not quite-black.” (Orchids 75) There are not many other flowers whose variety is so wide that one could spend a lifetime collecting just one color. The shape of the petal itself is subject to a lot of wonderment. The most commonly known form is rounded but there are many species of orchid with stringy and geometric petals.

“Whether-suggesting the delicate grace of a ballet dancer, hovering like a formation of helicopters, or encircling a stalk like acrobats, some orchid flowers appear less like plants then entertainers.” (Orchids 36)

O .seirutnec rof noitanicsaf fo tcejbus a neeb sah dihcro ehT a ni sdihcro emos deviecer yelttaC mailliW 8181 nI saw eh sddo lla tsniagA .lizarB mofr stnalp fo tnempihs ehT .esuohneerg sih ni moolb ot dihcro na esiar ot elba os emit eht ta dnalgnE ot decudortni neeb ton dah rewofl lausunu dna elprup tnarbiv eht demoolb tnalp eht nehw erihsnoveD fo ekuD htxis ehT .mih dekcohs epahs meht gniees refta sdihcro rof noitceffa peed a depoleved saw eH .noitibihxe yteicoS larutlucitroH layoR 3381 eht ta yrotavresnoc ezis dlefi llabtoof a tliub eh taht deripsni os snosaer ynam era erehT .stiolpxe lacinatob sih esuoh ot redisnoc ew rehtehW “ ,ralupop emaceb dihcro eht yhw ,smossolb fo ytilibarud ,slaudividni fo ecnagele lareneg eht yranidroartxe ro ,emufrep suoiciled ,sruoloc didnelps roirepus redro yna tceles ot tlucffiid eb dluow ti ,erutcurts ”.meht ot lauqe neve wef dna ,stcepser eseht ni eaedihcrO ot eht si dihcro ehT )11 yaD nhoJ fo sgnitniaP dihcrO ehT( seiceps 000,03 ylhguor era erehT .ylimaf larofl tsegral eht fo esuaceb gnitaerc neeb evah seiteirav ynaM .nwonk egnar ediw si erehT .areneg neewteb xim ot ytiliba stnalp eht edam sah hcihw ;nrettap dna ,roloc ,epahs latep fo larutlucitroh eht ni ytidommoc elbitcelloc yrev a dihcro dna gnitnuad oot egnar eht dnfi srotcelloc emoS .anera eht eetoved eno roF“ .sdihcro fo tcepsa eno ni ezilaiceps etanoissap‘ a detrats dihcro egasroc redneval railimaf htiw stnalp 57 naht erom sah won eh ;noitcelloc ’elprup ti krad os elprup a ot teloiv tselap mofr gnignar smoolb era erehT )57 sdihcrO( ”.kcalb-etiuq ton tub-tsomla si eno taht ediw os si yteirav esohw srewofl rehto ynam ton epahs ehT .roloc eno tsuj gnitcelloc emitefil a dneps dluoc ehT .tnemrednow fo tol a ot tcejbus si flesti latep eht fo era ereht tub dednuor si mrof nwonk ylnommoc tsom .slatep cirtemoeg dna ygnirts htiw dihcro fo seiceps ynam ,recnad tellab a fo ecarg etaciled eht gnitseggus-rehtehW “ a gnilcricne ro ,sretpocileh fo noitamrof a ekil gnirevoh ekil ssel raeppa srewofl dihcro emos ,staborca ekil klats )63 sdihcrO( ”.sreniatretne neht stnalp

Outrageous Orchids

P Peruvian Featherworks

Feathers have been held at a high value in many cultures throughout history. In Hawaii for example, feathers indicate status, “In traditional Hawaiian culture, for example, kahili (line over a), tall plumes mounted on long slender sticks, symbolized royalty, and feather-covered cloaks and helmets were the most valued possessions of aristocratic Hawaiian chiefs.” (Peruvian Featherworks 3) In other cultures feathers symbolize spiritual energy and the supernatural. Bird’s ability of flight is believed to allow them to access the spirit world. For that reason those wearing feathers were thought to reach a higher spiritual level. Eagle feathers were believed to be especially powerful and signified that the wearer had strength and courage.

The feathers used in adornment are predominantly from the Amazon. The strong trade network that existed in Peru allowed for feathers to be transported from the Amazon to the highlands and pacific coast. Birds from the highlands and coast do not have as vibrant feathers as those form the Amazon. “Feathers were chosen primarily for their radiant colors, striking iridescence, and silken texture. The gentle curve of feathers, when sewn to the foundation fabric, provided volume and a soft, plush texture that woven fabrics do not have. The skill and ingenuity of Peruvian textile artists and their ability to create with mineral and vegetal dyes a wide range of colors with subtle gradations in tone are well known. However, the glossy, brilliantly hued colors of feathers of tropical rainforest birds-the rich yellow and deep blue of the macaw, for example, or the bright turquoise and soft chartreuse of the paradise tanager-could not be achieved with dyes.” (Peruvian Featherworks 11) The Chimu culture produces a lot of feather art between the 10th and 15th century on the northern coast of Peru. These pieces stand as an example of the vibrant artistic culture of the time.

P

serutluc ynam ni eulav hgih a ta dleh neeb evah srehtaeF srehtaef ,elpmaxe rof iiawaH nI .yrotsih tuohguorht rof ,erutluc naiiawaH lanoitidart nI“ ,sutats etacidni gnol no detnuom semulp llat ,)a revo enil( ilihak ,elpmaxe derevoc-rehtaef dna ,ytlayor dezilobmys ,skcits rednels fo snoissessop deulav tsom eht erew stemleh dna skaolc )3 skrowrehtaeF naivureP( ”.sfeihc naiiawaH citarcotsira dna ygrene lautirips ezilobmys srehtaef serutluc rehto nI ot deveileb si thgifl fo ytiliba s’driB .larutanrepus eht esoht nosaer taht roF .dlrow tirips eht ssecca ot meht wolla lautirips rehgih a hcaer ot thguoht erew srehtaef gniraew lufrewop yllaicepse eb ot deveileb erew srehtaef elgaE .level .egaruoc dna htgnerts dah reraew eht taht defiingis dna

mofr yltnanimoderp era tnemnroda ni desu srehtaef ehT ureP ni detsixe taht krowten edart gnorts ehT .nozamA eht ot nozamA eht mofr detropsnart eb ot srehtaef rof dewolla sdnalhgih eht mofr sdriB .tsaoc cfiicap dna sdnalhgih eht eht mrof esoht sa srehtaef tnarbiv sa evah ton od tsaoc dna tnaidar rieht rof yliramirp nesohc erew srehtaeF“ .nozamA eltneg ehT .erutxet neklis dna ,ecnecsediri gnikirts ,sroloc ,cirbaf noitadnuof eht ot nwes nehw ,srehtaef fo evruc nevow taht erutxet hsulp ,ftos a dna emulov dedivorp naivureP fo ytiunegni dna lliks ehT .evah ton od scirbaf dna larenim htiw etaerc ot ytiliba rieht dna stsitra elitxet ni snoitadarg eltbus htiw sroloc fo egnar ediw a seyd lategev deuh yltnaillirb ,yssolg eht ,revewoH .nwonk llew era enot wolley hcir eht-sdrib tserofniar laciport fo srehtaef fo sroloc thgirb eht ro ,elpmaxe rof ,wacam eht fo eulb peed dna dluoc-reganat esidarap eht fo esuertrahc ftos dna esiouqrut ehT )11 skrowrehtaeF naivureP( ”.seyd htiw deveihca eb ton eht neewteb tra rehtaef fo tol a secudorp erutluc umihC esehT .ureP fo tsaoc nrehtron eht no yrutnec ht51 dna ht01 fo erutluc citsitra tnarbiv eht fo elpmaxe na sa dnats seceip .emit eht

Peruvian Featherworks

Q Curious Quetzal

The Resplendent Quetzal is known for its shimmering emerald green plumage and red breast. It has streamers, which can be even longer than its body in some cases measuring to over 24 inches. The male is very colorful but the female Quetzal is not as flamboyant, the female does not have the streamers and has a dark bill instead of a bright yellow bill like the male. The female also has a brown breast instead of red. The Quetzal eats fruit, more specifically the fruit of the wild avocado tree. The Quetzal is somewhat sedentary but moves through the region with the changing of fruit seasons. The Quetzal lives in montane and cloud forests in Central America. Costa Rica, home to the Quetzal, hosts a wide range of bird life. 830 different bird species have been documented there. It nests in decaying trees and in deep hollows or open holes. It lays eggs within these dwellings, which only have an 80% survival rate. Very few Quetzal birds reach adulthood. They are rare which is why Quetzal sittings are so desired by bird lovers. The deforestation in Central America is threating the Quetzal’s habitat and making the already rare bird even harder to find.

Q

gniremmihs sti rof nwonk si lazteuQ tnednelpseR ehT ,sremaerts sah tI .tsaerb der dna egamulp neerg dlareme sesac emos ni ydob sti naht regnol neve eb nac hcihw tub lufroloc yrev si elam ehT .sehcni 42 revo ot gnirusaem seod elamef eht ,tnayobmafl sa ton si lazteuQ elamef eht thgirb a fo daetsni llib krad a sah dna sremaerts eht evah ton tsaerb nworb a sah osla elamef ehT .elam eht ekil llib wolley yllacfiiceps erom ,tiufr stae lazteuQ ehT .der fo daetsni tahwemos si lazteuQ ehT .eert odacova dliw eht fo tiufr eht gnignahc eht htiw noiger eht hguorht sevom tub yratnedes duolc dna enatnom ni sevil lazteuQ ehT .snosaes tiufr fo eht ot emoh ,aciR atsoC .aciremA lartneC ni stserof drib tnereffid 038 .efil drib fo egnar ediw a stsoh ,lazteuQ gniyaced ni stsen tI .ereht detnemucod neeb evah seiceps nihtiw sgge syal tI .seloh nepo ro swolloh peed ni dna seert yreV .etar lavivrus %08 na evah ylno hcihw ,sgnillewd eseht hcihw erar era yehT .doohtluda hcaer sdrib lazteuQ wef ehT .srevol drib yb derised os era sgnittis lazteuQ yhw si s’lazteuQ eht gnitaerht si aciremA lartneC ni noitatserofed redrah neve drib erar ydaerla eht gnikam dna tatibah .dnfi ot

Curious Quetzal

R Rabat of Morocco

Rabat, the capital of Morocco, has fluctuated in wealth throughout history depending on whose power it is under.

During the Muslim Expulsion from Spain in the early 1600s a large population of Muslim refugees entered Morocco. The Andaluz society remained separated from the local society. The refugees formed their own community, which allowed their culture to be preserved despite the influences of their new surroundings. The embroidery in Rabat is largely due to the Moorish influence. “Moroccan embroideries of all kinds exist only in cities settled by the Moors of Spain. For the embroiders of Rabat, the decorated festoons beneath their squat florets are the legacy of their Moorish grandmothers; the same motifs are seen in Spain.” (Moroccan Textile Embroidery 142) There are too kinds of Rabat embroidery one is monochrome with powerful colors and the other is dense and filled with contrasting colors. The embroidery is sometimes done on printed a ground, which adds another element. “The more common monochromatic pieces are found in strong reds, dark blues, and yellows. In later years Rabat embroidery vacillated between duller monochromatic and dazzling polychromatic designs.” (Moroccan textile embroidery 144) Rabat embroidery is a mix of floral imagery common in Spanish culture and geometric forms common in African culture.

R

htlaew ni detautcufl sah ,occoroM fo latipac eht ,tabaR .rednu si ti rewop esohw no gnidneped yrotsih tuohguorht ylrae eht ni niapS mofr noislupxE milsuM eht gniruD deretne seegufer milsuM fo noitalupop egral a s0061 mofr detarapes deniamer yteicos zuladnA ehT .occoroM ,ytinummoc nwo rieht demrof seegufer ehT .yteicos lacol eht eht etipsed devreserp eb ot erutluc rieht dewolla hcihw ni yrediorbme ehT .sgnidnuorrus wen rieht fo secneuflni naccoroM“ .ecneuflni hsirooM eht ot eud ylegral si tabaR yb delttes seitic ni ylno tsixe sdnik lla fo seirediorbme eht ,tabaR fo srediorbme eht roF .niapS fo srooM eht ycagel eht era sterofl tauqs rieht htaeneb snootsef detaroced nees era sfitom emas eht ;srehtomdnarg hsirooM rieht fo era erehT )241 yrediorbmE elitxeT naccoroM( ”.niapS ni htiw emorhconom si eno yrediorbme tabaR fo sdnik oot htiw dellfi dna esned si rehto eht dna sroloc lufrewop no enod semitemos si yrediorbme ehT .sroloc gnitsartnoc erom ehT“ .tnemele rehtona sdda hcihw ,dnuorg a detnirp ,sder gnorts ni dnuof era seceip citamorhconom nommoc yrediorbme tabaR sraey retal nI .swolley dna ,seulb krad gnilzzad dna citamorhconom rellud neewteb detallicav yrediorbme elitxet naccoroM( ”.sngised citamorhcylop nommoc yregami larofl fo xim a si yrediorbme tabaR )441 ni nommoc smrof cirtemoeg dna erutluc hsinapS ni .erutluc nacifrA

Rabat of Morocco

S Spice it Up

Spices have always been important in global culture. They were used as early as 3000 bc as a tool for embalming in Egypt. The Egyptians associated different spices with different gods and felt they could protect the deceased in the afterlife. Spices also drove people to explore other parts of the world. As explorers traveled the world they learned more about different spices and introduced them to European culture. When spices were brought back their value skyrocketed primarily because of their medicinal functions. During the Spice Wars of the 1500s nutmeg was one of the most valuable spices because it was thought to be a cure for the plague. At some points in history spices were used as a substitute for currency. “During the fourteenth century, in Germany, one pound of nutmeg could be traded for seven fat oxen. At other points in history, rent would be paid in peppercorns, and a pound of pepper would serve to buy freedom of a serf in medieval France.” (The Spice House) The enormous value of spices is somewhat lost in today’s world, as they have become so readily available. As trade became stronger it became less expensive for spices to be put on the global market. At the time gathering spice from around the world took time and skill. “Many spices originated in the Asian tropics: cinnamon, cloves, nutmeg, pepper, and gingerroot. The Americas contributed allspice, vanilla, and chilies; the Mediterranean countries provided cilantro, mustard, fennel, poppy seeds, and fenugreek; Europe’s cooler regions brought forth caraway, dill, and juniper.” (The Encyclopedia of Herbs Spice & Flavorings 9) The colors of spices vary. Many that are seen in grocery stores are a dull brown but most fresh spices are a vibrant red or yellow. At the Spice Bazaar in Istanbul a huge variety of spices are on display. The wonderful scent and color of the spices make visiting the bazaar an incredibly unique sensory experience.

S

yehT .erutluc labolg ni tnatropmi neeb syawla evah secipS gnimlabme rof loot a sa cb 0003 sa ylrae sa desu erew htiw secips tnereffid detaicossa snaitpygE ehT .tpygE ni desaeced eht tcetorp dluoc yeht tlef dna sdog tnereffid rehto erolpxe ot elpoep evord osla secipS .efilrefta eht ni yeht dlrow eht delevart srerolpxe sA .dlrow eht fo strap meht decudortni dna secips tnereffid tuoba erom denrael rieht kcab thguorb erew secips nehW .erutluc naeporuE ot lanicidem rieht fo esuaceb yliramirp detekcoryks eulav saw gemtun s0051 eht fo sraW ecipS eht gniruD .snoitcnuf eb ot thguoht saw ti esuaceb secips elbaulav tsom eht fo eno erew secips yrotsih ni stniop emos tA .eugalp eht rof eruc a htneetruof eht gniruD“ .ycnerruc rof etutitsbus a sa desu dedart eb dluoc gemtun fo dnuop eno ,ynamreG ni ,yrutnec eb dluow tner ,yrotsih ni stniop rehto tA .nexo taf neves rof evres dluow reppep fo dnuop a dna ,snrocreppep ni diap ecipS ehT( ”.ecnarF laveidem ni fres a fo modeefr yub ot ni tsol tahwemos si secips fo eulav suomrone ehT )esuoH sA .elbaliava ylidaer os emoceb evah yeht sa ,dlrow s’yadot secips rof evisnepxe ssel emaceb ti regnorts emaceb edart ecips gnirehtag emit eht tA .tekram labolg eht no tup eb ot secips ynaM“ .lliks dna emit koot dlrow eht dnuora mofr ,gemtun ,sevolc ,nomannic :sciport naisA eht ni detanigiro ,ecipslla detubirtnoc saciremA ehT .toorregnig dna ,reppep dedivorp seirtnuoc naenarretideM eht ;seilihc dna ,allinav ;keergunef dna ,sdees yppop ,lennef ,dratsum ,ortnalic dna ,llid ,yawarac htrof thguorb snoiger relooc s’eporuE sgnirovalF & ecipS sbreH fo aidepolcycnE ehT( ”.repinuj yrecorg ni nees era taht ynaM .yrav secips fo sroloc ehT )9 tnarbiv a era secips hsefr tsom tub nworb llud a era serots yteirav eguh a lubnatsI ni raazaB ecipS eht tA .wolley ro der fo roloc dna tnecs lufrednow ehT .yalpsid no era secips fo euqinu ylbidercni na raazab eht gnitisiv ekam secips eht .ecneirepxe yrosnes

Spice it Up

T Tulips of Holland

Tulips were introduced in Europe through trade routes for Turkey. The Dutch East India Company of 1602 helped to bring the rare flower into the public sphere. Amsterdam was a key port for trade, which created a concentration of wealth. The prosperity of merchants sparked the development of an upper class in the area. “For rich merchants, fountains, aviaries of rare birds and temples in the Greek style were standard accouterments of the garden.

But the tulip was the ultimate status symbol, the definitive emblem of how much you were worth.” (The Tulip 6) The tulip became a quintessential status symbol in the region.

Tulipmania ensued in Holland between 1634 and 1637.

During this time people paid huge sums of money for rare tulips. “How could it have ever happened that single bulbs of certain kinds of tulips could change hands for sums that would have secured a town house in the best quarter of Amsterdam?” (The Tulip 6) Those who could not pay the exorbitant prices would commission paintings of tulips instead.

During the time of tulipmania a virus began which caused the flowers to change colors and petal shape from season to season. This is one of the only cases where a floral virus has increased the value of a flower. The virus, which was caused by aphids, triggered a change in the tulips that made their coloration more complex. Broken flowers were rare and hard to reproduce partly because it was unclear at the time what caused the virus. People developed a lot of different theories for the phenomenon and tried to make money off of their ideas by selling mixtures that would encourage the flowers to break. Some gardeners spliced two solid tulip bulbs together to try and get the petals to become stripped. People were driven to such lengths because of the enormous profit there was to gain by harvesting broken tulip bulbs. By 1640 tulipmania had ended and the trend in tulips had shifted towards more solid Darwin Tulips. To this day tulips are a large part of culture in Holland and vast fields of tulips span the countryside in a colorful feast that would have been a collector’s heaven in the 1600s.

T

rof setuor edart hguorht eporuE ni decudortni erew spiluT ot depleh 2061 fo ynapmoC aidnI tsaE hctuD ehT .yekruT madretsmA .erehps cilbup eht otni rewofl erar eht gnirb noitartnecnoc a detaerc hcihw ,edart rof trop yek a saw eht dekraps stnahcrem fo ytirepsorp ehT .htlaew fo hcir roF“ .aera eht ni ssalc reppu na fo tnempoleved ni selpmet dna sdrib erar fo seiraiva ,sniatnuof ,stnahcrem .nedrag eht fo stnemretuocca dradnats erew elyts keerG eht evitinfied eht ,lobmys sutats etamitlu eht saw pilut eht tuB ehT )6 piluT ehT( ”.htrow erew uoy hcum woh fo melbme .noiger eht ni lobmys sutats laitnessetniuq a emaceb pilut .7361 dna 4361 neewteb dnalloH ni deusne ainampiluT erar rof yenom fo smus eguh diap elpoep emit siht gniruD sblub elgnis taht deneppah reve evah ti dluoc woH“ .spilut smus rof sdnah egnahc dluoc spilut fo sdnik niatrec fo retrauq tseb eht ni esuoh nwot a deruces evah dluow taht ton dluoc ohw esohT )6 piluT ehT( ”?madretsmA fo fo sgnitniap noissimmoc dluow secirp tnatibroxe eht yap .daetsni spilut desuac hcihw nageb suriv a ainampilut fo emit eht gniruD ot nosaes mofr epahs latep dna sroloc egnahc ot srewofl eht sah suriv larofl a erehw sesac ylno eht fo eno si sihT .nosaes desuac saw hcihw ,suriv ehT .rewofl a fo eulav eht desaercni rieht edam taht spilut eht ni egnahc a dereggirt ,sdihpa yb dna erar erew srewofl nekorB .xelpmoc erom noitaroloc emit eht ta raelcnu saw ti esuaceb yltrap ecudorper ot drah tnereffid fo tol a depoleved elpoeP .suriv eht desuac tahw yenom ekam ot deirt dna nonemonehp eht rof seiroeht egaruocne dluow taht serutxim gnilles yb saedi rieht fo ffo dilos owt decilps srenedrag emoS .kaerb ot srewofl eht emoceb ot slatep eht teg dna yrt ot rehtegot sblub pilut fo esuaceb shtgnel hcus ot nevird erew elpoeP .deppirts nekorb gnitsevrah yb niag ot saw ereht tfiorp suomrone eht dnert eht dna dedne dah ainampilut 0461 yB .sblub pilut oT .spiluT niwraD dilos erom sdrawot deftihs dah spilut ni tsav dna dnalloH ni erutluc fo trap egral a era spilut yad siht taht tsaef lufroloc a ni edisyrtnuoc eht naps spilut fo sdlefi .s0061 eht ni nevaeh s’rotcelloc a neeb evah dluow

Tulips of Holland

U Undulating Utah

The Colorado Plateau extends through the Four Corner states, which includes Utah’s southeastern quarter. The region is very undeveloped and harsh. As Americans moved across the country during the westward expansion this land was known to be perilous. “You are going to a place that breaks your dreams, you are going into ‘the heart of stone.’

A hundred years after you die, men will walk on the moon, but few will walk in the country you plan to settle. Your failure will in time become a national treasure because it will remain silent and free of wild.” (Stone Canyons 8) Very few people were able settle in this part of the country. The semi-arid region is a basin that has a range of elevations within it due to the shifting of tectonic plates. There are plateaus, slot canyons, mountains, river gorges, rapids and other natural features. This variety adds to the undulating color rich landscape generated by the exposed rock. The rock in the area is a mix of limestone, sandstone, siltstone and shale. The walls of the cavernous landscape have been smoothed in part by the rivers that once ran through some the ravines. “During epoch after epoch, the Colorado Plateau grew like a Dagwood sandwich, built with layers of sandstone, limestone, mudstone, and shale. These strata— the time-pressed cargoes of oceans, rivers, and winds— were hoisted, sunk, and twisted by violent tectonic forces.

Volcanoes spread lava on them, wind and water attacked them, and one of the world’s most readable geology lessons took shape.” (Colorado Plateau) The Colorado plateau displays a wonderful range of red, orange and yellow harsh landscape. The Navajo who lived in the region at one time created a lot of art on the rock. A lot of the imagery is figure based, perhaps of gods. The landscape has evolved overtime, “Meanwhile, the land writes its own story, ever so slowly. Pushed by tectonics, the realm rises a centimeter (0.3 inches) or so every year, while erosion takes a little off the top. Time marches on in canyon country, taking its own sweet time.” (Colorado Plateau) The landscape is constantly evolving and changing both by those who visit and the constant natural ware on the stone.

U renroC ruoF eht hguorht sdnetxe uaetalP odaroloC ehT ehT .retrauq nretsaehtuos s’hatU sedulcni hcihw ,setats devom snaciremA sA .hsrah dna depolevednu yrev si noiger dnal siht noisnapxe drawtsew eht gnirud yrtnuoc eht ssorca taht ecalp a ot gniog era uoY “ .suolirep eb ot nwonk saw ’.enots fo traeh eht‘ otni gniog era uoy ,smaerd ruoy skaerb ,noom eht no klaw lliw nem ,eid uoy refta sraey derdnuh A ruoY .elttes ot nalp uoy yrtnuoc eht ni klaw lliw wef tub ti esuaceb erusaert lanoitan a emoceb emit ni lliw eruliaf yreV )8 snoynaC enotS( ”.dliw fo eefr dna tnelis niamer lliw ehT .yrtnuoc eht fo trap siht ni elttes elba erew elpoep wef snoitavele fo egnar a sah taht nisab a si noiger dira-imes era erehT .setalp cinotcet fo gniftihs eht ot eud ti nihtiw dna sdipar ,segrog revir ,sniatnuom ,snoynac tols ,suaetalp gnitaludnu eht ot sdda yteirav sihT .serutaef larutan rehto ehT .kcor desopxe eht yb detareneg epacsdnal hcir roloc enotstlis ,enotsdnas ,enotsemil fo xim a si aera eht ni kcor neeb evah epacsdnal suonrevac eht fo sllaw ehT .elahs dna emos hguorht nar ecno taht srevir eht yb trap ni dehtooms odaroloC eht ,hcope refta hcope gniruD“ .senivar eht fo sreyal htiw tliub ,hciwdnas doowgaD a ekil werg uaetalP —atarts esehT .elahs dna ,enotsdum ,enotsemil ,enotsdnas —sdniw dna ,srevir ,snaeco fo seograc desserp-emit eht .secrof cinotcet tneloiv yb detsiwt dna ,knus ,detsioh erew dekcatta retaw dna dniw ,meht no aval daerps seonacloV snossel ygoloeg elbadaer tsom s’dlrow eht fo eno dna ,meht uaetalp odaroloC ehT )uaetalP odaroloC( ”.epahs koot hsrah wolley dna egnaro ,der fo egnar lufrednow a syalpsid emit eno ta noiger eht ni devil ohw ojavaN ehT .epacsdnal si yregami eht fo tol A .kcor eht no tra fo tol a detaerc devlove sah epacsdnal ehT .sdog fo spahrep ,desab erugfi reve ,yrots nwo sti setirw dnal eht ,elihwnaeM“ ,emitrevo retemitnec a sesir mlaer eht ,scinotcet yb dehsuP .ylwols os elttil a sekat noisore elihw ,raey yreve os ro )sehcni 3.0( gnikat ,yrtnuoc noynac ni no sehcram emiT .pot eht ffo si epacsdnal ehT )uaetalP odaroloC( ”.emit teews nwo sti tisiv ohw esoht yb htob gnignahc dna gnivlove yltnatsnoc .enots eht no eraw larutan tnatsnoc eht dna

Undulating Utah

V Diana Vreeland

Diana Vreeland was born in Paris into an affluent family.

She was raised between the World Wars when elegance was equal in importance to intelligence. She went on to become the fashion editor of Harper’s Bazaar for 25 years. While working there she got a reputation for her unusual ideas. In 1962 she became the editor in chief of Vogue. Ten years later she became the special consultant to the Metropolitan Museum of Art’s Costume Institute.

Prior to Vreeland’s arrival, the Costume Institute was an overlooked department that did not get very much attention from museum visitors. Diana Vreeland was able to make the Costume Institute a highlight of the museum.

Her exhibitions broke attendance records.

Diana Vreeland’s New York apartment is just as daring as her work. Her living room designed by Billy Baldwin in 1957 is an explosion of red. Horst P. Horst spoke about the color of Vreeland’s apartment and said, “ All my life I’ve pursued the perfect red. I can never get painters to mix it for me. It’s exactly as if I’d said, ‘I want Rococo with a spot of Gothic in it and a bit of Buddhist Temple’-they have no idea what I’m talking about. About the best red is to copy the color of a child’s cap in any Renaissance portrait.”

(Diana Vreeland 105) The room’s focal point is the sofa covered in pillows. Diana Vreeland said, “Red is the great clarifier - bright, cleansing, revealing. It makes all colors beautiful. I can’t imagine being bored with it - it would be like becoming tired of the person you love. I wanted this apartment to be a garden - but it had to be a garden in hell.”

(Diana Vreeland Web) Red is a very important color to Diana Vreeland. It is said that upon arriving in New York she had her nails painted bright red, which was considered garish at the time. It is her bold choices that have made her so memorable in the fashion world today.

V

.ylimaf tneuffla na otni siraP ni nrob saw dnaleerV anaiD ecnagele nehw sraW dlroW eht neewteb desiar saw ehS no tnew ehS .ecnegilletni ot ecnatropmi ni lauqe saw 52 rof raazaB s’repraH fo rotide noihsaf eht emoceb ot reh rof noitatuper a tog ehs ereht gnikrow elihW .sraey fo feihc ni rotide eht emaceb ehs 2691 nI .saedi lausunu tnatlusnoc laiceps eht emaceb ehs retal sraey neT .eugoV .etutitsnI emutsoC s’trA fo muesuM natiloporteM eht ot saw etutitsnI emutsoC eht ,lavirra s’dnaleerV ot roirP hcum yrev teg ton did taht tnemtraped dekoolrevo na elba saw dnaleerV anaiD .srotisiv muesum mofr noitnetta .muesum eht fo thgilhgih a etutitsnI emutsoC eht ekam ot .sdrocer ecnadnetta ekorb snoitibihxe reH

sa gnirad sa tsuj si tnemtrapa kroY weN s’dnaleerV anaiD ni niwdlaB ylliB yb dengised moor gnivil reH .krow reh eht tuoba ekops tsroH .P tsroH .der fo noisolpxe na si 7591 ev’I efil ym llA “ ,dias dna tnemtrapa s’dnaleerV fo roloc ti xim ot sretniap teg reven nac I .der tcefrep eht deusrup tops a htiw ococoR tnaw I‘ ,dias d’I fi sa yltcaxe s’tI .em rof evah yeht-’elpmeT tsihdduB fo tib a dna ti ni cihtoG fo ot si der tseb eht tuobA .tuoba gniklat m’I tahw aedi on ”.tiartrop ecnassianeR yna ni pac s’dlihc a fo roloc eht ypoc afos eht si tniop lacof s’moor ehT )501 dnaleerV anaiD( taerg eht si deR“ ,dias dnaleerV anaiD .swollip ni derevoc sroloc lla sekam tI .gnilaever ,gnisnaelc ,thgirb - refiiralc eb dluow ti - ti htiw derob gnieb enigami t’nac I .lufituaeb siht detnaw I .evol uoy nosrep eht fo derit gnimoceb ekil ”.lleh ni nedrag a eb ot dah ti tub - nedrag a eb ot tnemtrapa ot roloc tnatropmi yrev a si deR )beW dnaleerV anaiD( kroY weN ni gnivirra nopu taht dias si tI .dnaleerV anaiD deredisnoc saw hcihw ,der thgirb detniap slian reh dah ehs reh edam evah taht seciohc dlob reh si tI .emit eht ta hsirag .yadot dlrow noihsaf eht ni elbaromem os

Diana Vreeland

W Wedgwood

Josiah Wedgwood began producing ‘Wedgwood’ ceramics in 1759. The company grew quickly and became one of the most widely known ceramics companies in history.

To this day Wedgwood is a leader in fine ceramics. “It is generally agreed that Josiah Wedgwood, founder of the great manufactory at Etruria in Staffordshire, was the most influential and significant single figure in the history of English pottery. He was the only Englishman ever the enjoy a European reputation as a potter; he set a Continental as well as an English fashion, and established a technical tradition that has lasted to this day.” (Wedgwood Ware 1) Josiah Wedgwood established a new system for creating high quality traditional ceramics using mass production processes. The style used in Wedgewood pottery is a reaction against Rococo. Rococo revolved around heavy ornamentation. Wedgwood was within the Neo-Classical aesthetic. The forms of the ceramics were relatively simple and the decoration was inspired by Greek and Roman pottery. “Such then, was the Neo-Classical style, with its decoration of swags and garlands, its cameo-medallions and reclining figures, in the embodiment of which in pottery Wedgwood became an acknowledged leader, so that even the great Continental porcelain-factories were compelled to imitate him.” (Wedgwood Ware 2) Josiah Wedgwood is not responsible for this style but he did use it in a way that helped propel the ceramics industry in a new direction. By drawing on traditional iconography he was able to add a feeling of value and reputability to his massproduced products. His work was made of nice materials but how it was made was not as involved as ceramics in the past. He used molds to create the forms and then used lithographic transfers to apply the imagery. The craftsman played a much more distant role in the production of the ceramics. Wisely, Josiah Wedgewood tried to distract the buyer from this fact. He decorated his showrooms in a way that made his products seem tied to antiquity and tradition.

W

scimarec ’doowgdeW ‘ gnicudorp nageb doowgdeW haisoJ fo eno emaceb dna ylkciuq werg ynapmoc ehT .9571 ni .yrotsih ni seinapmoc scimarec nwonk ylediw tsom eht si tI“ .scimarec enfi ni redael a si doowgdeW yad siht oT eht fo rednuof ,doowgdeW haisoJ taht deerga yllareneg tsom eht saw ,erihsdroffatS ni airurtE ta yrotcafunam taerg fo yrotsih eht ni erugfi elgnis tnacfiingis dna laitneuflni yojne eht reve namhsilgnE ylno eht saw eH .yrettop hsilgnE latnenitnoC a tes eh ;rettop a sa noitatuper naeporuE a lacinhcet a dehsilbatse dna ,noihsaf hsilgnE na sa llew sa )1 eraW doowgdeW( ”.yad siht ot detsal sah taht noitidart gnitaerc rof metsys wen a dehsilbatse doowgdeW haisoJ noitcudorp ssam gnisu scimarec lanoitidart ytilauq hgih a si yrettop doowegdeW ni desu elyts ehT .sessecorp yvaeh dnuora devlover ococoR .ococoR tsniaga noitcaer lacissalC-oeN eht nihtiw saw doowgdeW .noitatnemanro elpmis ylevitaler erew scimarec eht fo smrof ehT .citehtsea namoR dna keerG yb deripsni saw noitaroced eht dna sti htiw ,elyts lacissalC-oeN eht saw ,neht hcuS“ .yrettop snoilladem-oemac sti ,sdnalrag dna sgaws fo noitaroced ni hcihw fo tnemidobme eht ni ,serugfi gninilcer dna os ,redael degdelwonkca na emaceb doowgdeW yrettop erew seirotcaf-nialecrop latnenitnoC taerg eht neve taht haisoJ )2 eraW doowgdeW( ”.mih etatimi ot dellepmoc ti esu did eh tub elyts siht rof elbisnopser ton si doowgdeW wen a ni yrtsudni scimarec eht leporp depleh taht yaw a ni saw eh yhpargonoci lanoitidart no gniward yB .noitcerid -ssam sih ot ytilibatuper dna eulav fo gnileef a dda ot elba slairetam ecin fo edam saw krow siH .stcudorp decudorp eht ni scimarec sa devlovni sa ton saw edam saw ti woh tub desu neht dna smrof eht etaerc ot sdlom desu eH .tsap namsftarc ehT .yregami eht ylppa ot srefsnart cihpargohtil eht fo noitcudorp eht ni elor tnatsid erom hcum a deyalp eht tcartsid ot deirt doowegdeW haisoJ ,ylesiW .scimarec yaw a ni smoorwohs sih detaroced eH .tcaf siht mofr reyub .noitidart dna ytiuqitna ot deit mees stcudorp sih edam taht

Wedgwood

X Extraordinary Butterflies

Butterflies are known for their brightly colored and metallic wings. Because butterflies can be easily preserved they have been a collectable entity for decades. Shops like Deyrolle in Paris have draws and draws full of beautiful butterflies in a rainbow of colors. Butterflies have been a source of inspiration in culture across many mediums.

They have influenced the color of garments in the fashion industry and have been the source of inspiration for the jeweler jars who created a collection of sparking pins in the form of large butterflies. The coloring of butterflies has also been of interest to scientists. “Colours may be produced by pigments, by structure or by a combination of these two. The colour is usually present in the layer of microscopic scales which clothes the butterfly’s wings, but it may also be present in the underlying epiderman tissue which remains if the scales are removed…” (Butterfly World 56) It is simple to what is causing the coloring of a wing. If you apply water to the wing the structural color with loose its luster but the pigment will stay the same. The different colors are formed from different chemicals. Leucopterin makes white, xanthopterin is yellow, chrysopterin is orange, erythropterin is red. The brilliant blue, which is found on a lot of South American butterflies is caused by structural color rather than pigmentation. The color of butterflies can be difficult to capture with photography. The iridescence of the butterfly is impossible to capture in one shot.

Their pigmentation also has a practical function. The coloring of butterflies is the result of natural selection. The coloring of different butterflies has evolved based on their surrounding environment. At times the pigmentation helps them to blend in and in other instances it tries to evoke fright in the predator with the use of eye like patterning.

“All the colour patterns found in butterflies, ranging from the most dark and drab to the most brilliantly colourful, have some survival value or adaptive significance. (Butterfly World 59-60) The butterflies shown on the following page are Xynia, Xenocles, Xanthopleura, Xanthocles, Xanthomelas, Xenagoras, Xiphares, Xenocrates, Xenocles.

X

dna deroloc ylthgirb rieht rof nwonk era seiflrettuB devreserp ylisae eb nac seiflrettub esuaceB .sgniw cillatem ekil spohS .sedaced rof ytitne elbatcelloc a neeb evah yeht lufituaeb fo lluf sward dna sward evah siraP ni elloryeD neeb evah seiflrettuB .sroloc fo wobniar a ni seiflrettub .smuidem ynam ssorca erutluc ni noitaripsni fo ecruos a noihsaf eht ni stnemrag fo roloc eht decneuflni evah yehT eht rof noitaripsni fo ecruos eht neeb evah dna yrtsudni ni snip gnikraps fo noitcelloc a detaerc ohw sraj relewej seiflrettub fo gniroloc ehT .seiflrettub egral fo mrof eht eb yam sruoloC“ .stsitneics ot tseretni fo neeb osla sah noitanibmoc a yb ro erutcurts yb ,stnemgip yb decudorp fo reyal eht ni tneserp yllausu si ruoloc ehT .owt eseht fo tub ,sgniw s’yflrettub eht sehtolc hcihw selacs cipocsorcim eussit namredipe gniylrednu eht ni tneserp eb osla yam ti dlroW yflrettuB( ”…devomer era selacs eht fi sniamer hcihw fI .gniw a fo gniroloc eht gnisuac si tahw ot elpmis si tI )65 esool htiw roloc larutcurts eht gniw eht ot retaw ylppa uoy tnereffid ehT .emas eht yats lliw tnemgip eht tub retsul sti niretpocueL .slacimehc tnereffid mofr demrof era sroloc ,egnaro si niretposyrhc ,wolley si niretpohtnax ,etihw sekam no dnuof si hcihw ,eulb tnaillirb ehT .der si niretporhtyre larutcurts yb desuac si seiflrettub naciremA htuoS fo tol a nac seiflrettub fo roloc ehT .noitatnemgip naht rehtar roloc ecnecsediri ehT .yhpargotohp htiw erutpac ot tlucffiid eb .tohs eno ni erutpac ot elbissopmi si yflrettub eht fo

ehT .noitcnuf lacitcarp a sah osla noitatnemgip riehT ehT .noitceles larutan fo tluser eht si seiflrettub fo gniroloc rieht no desab devlove sah seiflrettub tnereffid fo gniroloc spleh noitatnemgip eht semit tA .tnemnorivne gnidnuorrus ekove ot seirt ti secnatsni rehto ni dna ni dnelb ot meht .gninrettap ekil eye fo esu eht htiw rotaderp eht ni thgifr mofr gnignar ,seiflrettub ni dnuof snrettap ruoloc eht llA“ ,lufruoloc yltnaillirb tsom eht ot bard dna krad tsom eht yflrettuB( .ecnacfiingis evitpada ro eulav lavivrus emos evah gniwollof eht no nwohs seiflrettub ehT )06-95 dlroW ,selcohtnaX ,aruelpohtnaX ,selconeX ,ainyX era egap .selconeX ,setarconeX ,serahpiX ,saroganeX ,salemohtnaX

Extraordinary Butterflies

Y Yunnan China

The rice fields in Southern Yunnan, China are incredibly well designed. The fields are terraced at a 25% angle on the Ailao Mountains to the banks of the Hong River. The Hani people have been developing the agricultural landscape the last 1,300 years. They have developed an agricultural system to channel water from the forested mountaintops to the terraces. Nature is at the center of life in this region.

Many people in the area worship nature. The forest is extremely important to life in the area. “There are four types of forests, the ancient ‘water recharge’ forest, sacred forest, consolidation forest, and village forests for the provision of timber for building, food and firewood.” (unesco) The forest supplies water and life to the entire agricultural system. A channel system helps to spread the water evenly across the terraces. The channels also help to supply nutrients like fertilizer equally. Many different species of animals work together to aid in the grown of the red rice. “…Ducks fertilize the young rice plants, while chickens and pigs contribute fertilizer to more mature plants, water buffalo slough the fields for the next year’s planting and snails growing in the water of the terraces consume various pests.” (unesco) The use of different animals in the system emphasizes the Hani people’s respect of nature. They really value the harmony that can be created between people, animals, and the earth. The concentric linear structure of the rice fields form unparalleled beauty that represents a marriage of the natural and the man made.

“The resilient land management system of the rice terraces demonstrates extraordinary harmony between people and their environment, both visually and ecologically, based on exceptional and long-standing social and religious structures.” (unesco) The reflection of the sky in the pools of water adds another layer of color to the vibrant landscape.

Y

ylbidercni era anihC ,nannuY nrehtuoS ni sdlefi ecir ehT eht no elgna %52 a ta decarret era sdlefi ehT .dengised llew inaH ehT .reviR gnoH eht fo sknab eht ot sniatnuoM oaliA epacsdnal larutlucirga eht gnipoleved neeb evah elpoep larutlucirga na depoleved evah yehT .sraey 003,1 tsal eht spotniatnuom detserof eht mofr retaw lennahc ot metsys .noiger siht ni efil fo retnec eht ta si erutaN .secarret eht ot si tserof ehT .erutan pihsrow aera eht ni elpoep ynaM ruof era erehT“ .aera eht ni efil ot tnatropmi ylemertxe dercas ,tserof ’egrahcer retaw‘ tneicna eht ,stserof fo sepyt eht rof stserof egalliv dna ,tserof noitadilosnoc ,tserof ”.doowerfi dna doof ,gnidliub rof rebmit fo noisivorp eritne eht ot efil dna retaw seilppus tserof ehT )ocsenu( eht daerps ot spleh metsys lennahc A .metsys larutlucirga pleh osla slennahc ehT .secarret eht ssorca ylneve retaw tnereffid ynaM .yllauqe rezilitref ekil stneirtun ylppus ot eht fo nworg eht ni dia ot rehtegot krow slamina fo seiceps elihw ,stnalp ecir gnuoy eht ezilitref skcuD…“ .ecir der erutam erom ot rezilitref etubirtnoc sgip dna snekcihc s’raey txen eht rof sdlefi eht hguols olaffub retaw ,stnalp secarret eht fo retaw eht ni gniworg slians dna gnitnalp tnereffid fo esu ehT )ocsenu( ”.stsep suoirav emusnoc tcepser s’elpoep inaH eht sezisahpme metsys eht ni slamina detaerc eb nac taht ynomrah eht eulav yllaer yehT .erutan fo cirtnecnoc ehT .htrae eht dna ,slamina ,elpoep neewteb ytuaeb delellarapnu mrof sdlefi ecir eht fo erutcurts raenil .edam nam eht dna larutan eht fo egairram a stneserper taht secarret ecir eht fo metsys tnemeganam dnal tneiliser ehT“ dna elpoep neewteb ynomrah yranidroartxe setartsnomed desab ,yllacigoloce dna yllausiv htob ,tnemnorivne rieht suoigiler dna laicos gnidnats-gnol dna lanoitpecxe no sloop eht ni yks eht fo noitcefler ehT )ocsenu( ”.serutcurts .epacsdnal tnarbiv eht ot roloc fo reyal rehtona sdda retaw fo

Yunnan China

Z Zebra Razzle Dazzle

Zebras live predominantly in the plains of Southern Africa. Zebras are known for their distinctive coat, which is unique to each animal. A zebra’s coat is like a fingerprint; no two coats are the same. The stripes on their shoulders are very unique to each zebra. It is said that the striations help zebras differentiate between each other. The stripes also act as a form of camouflage against predators. “The pattern may make it difficult for predators to identify a single animal from a running herd and destroy distance at dawn and dusk.” (National Geographic) Their coats also function well in their hot and arid habitat. The coat is able to reflect roughly 70% of the heat that hits it. The stripes of a zebra are just as functional as they are beautiful.

Dazzle camouflage was invented in 1910 as a way to protect American and British ships from the attack of the German U-Boats in World War One. Critical military supplies needed to be brought into England but the German torpedoes were making that nearly impossible.

“Conventional high-similarity camouflage just doesn’t work in the open sea. Conditions like the color of the sky, cloud cover, and wave height change all the time, not to mention the fact that there’s no way to hid all the smoke left by the ship’s smoke stacks.” (99 Percent Invisible) To resolve this problem the navy began painting their ships with crazy patterning. This was a form of reverse camouflage. Instead of trying to match the color of the ships to that of the environment, they made them stand out. One journalist at the time described the ships as, “a flock of sea-going Easter eggs.” (99 Percent Invisible) The patterning was meant to confuse the attacker. The decoration on the ship also made it difficult to determine the direction the ship was moving in since it hindered depth perception. In order for a torpedo to be fired at a ship the attacker had to know where the ship would be in a few minutes so it could set its line of fire accurately. The camouflage made the accuracy of torpedoes much lower. The painting of these ships was a true art form. “…A scene presenting a pageant-like array of strong color and strange designs…” (Ship Shape 59) These ships brought hope and wonderment to a time of great difficulty in England.

Z

nrehtuoS fo snialp eht ni yltnanimoderp evil sarbeZ si hcihw ,taoc evitcnitsid rieht rof nwonk era sarbeZ .acifrA ;tnirpregnfi a ekil si taoc s’arbez A .lamina hcae ot euqinu sredluohs rieht no sepirts ehT .emas eht era staoc owt on snoitairts eht taht dias si tI .arbez hcae ot euqinu yrev era sepirts ehT .rehto hcae neewteb etaitnereffid sarbez pleh ehT“ .srotaderp tsniaga egafluomac fo mrof a sa tca osla a yfitnedi ot srotaderp rof tlucffiid ti ekam yam nrettap ecnatsid yortsed dna dreh gninnur a mofr lamina elgnis osla staoc riehT )cihpargoeG lanoitaN( ”.ksud dna nwad ta elba si taoc ehT .tatibah dira dna toh rieht ni llew noitcnuf fo sepirts ehT .ti stih taht taeh eht fo %07 ylhguor tcefler ot .lufituaeb era yeht sa lanoitcnuf sa tsuj era arbez a

ot yaw a sa 0191 ni detnevni saw egafluomac elzzaD eht fo kcatta eht mofr spihs hsitirB dna naciremA tcetorp yratilim lacitirC .enO raW dlroW ni staoB-U namreG eht tub dnalgnE otni thguorb eb ot dedeen seilppus .elbissopmi ylraen taht gnikam erew seodeprot namreG krow t’nseod tsuj egafluomac ytiralimis-hgih lanoitnevnoC“ duolc ,yks eht fo roloc eht ekil snoitidnoC .aes nepo eht ni noitnem ot ton ,emit eht lla egnahc thgieh evaw dna ,revoc eht yb ftel ekoms eht lla dih ot yaw on s’ereht taht tcaf eht siht evloser oT )elbisivnI tnecreP 99( ”.skcats ekoms s’pihs yzarc htiw spihs rieht gnitniap nageb yvan eht melborp daetsnI .egafluomac esrever fo mrof a saw sihT .gninrettap eht fo taht ot spihs eht fo roloc eht hctam ot gniyrt fo ta tsilanruoj enO .tuo dnats meht edam yeht ,tnemnorivne retsaE gniog-aes fo kcofl a“ ,sa spihs eht debircsed emit eht tnaem saw gninrettap ehT )elbisivnI tnecreP 99( ”.sgge osla pihs eht no noitaroced ehT .rekcatta eht esufnoc ot saw pihs eht noitcerid eht enimreted ot tlucffiid ti edam rof redro nI .noitpecrep htped derednih ti ecnis ni gnivom wonk ot dah rekcatta eht pihs a ta derfi eb ot odeprot a sti tes dluoc ti os setunim wef a ni eb dluow pihs eht erehw ycarucca eht edam egafluomac ehT .yletarucca erfi fo enil saw spihs eseht fo gnitniap ehT .rewol hcum seodeprot fo yarra ekil-tnaegap a gnitneserp enecs A…“ .mrof tra eurt a )95 epahS pihS( ”…sngised egnarts dna roloc gnorts fo fo emit a ot tnemrednow dna epoh thguorb spihs esehT .dnalgnE ni ytlucffiid taerg

Zebra Razzle Dazzle

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Colophon

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type: Mrs. Eaves ot (Roman) paper: Ink Jet Film Matte Xerox Digital Color Elite Silk (80lb) software: Adobe InDesign Adobe Photoshop notes: Special thanks to the risd Fleet Library staff for their extensive resources and assistance in finding imagery for this book. process: This book is the result of months worth of indepth reasearch and investigation. I spent time collecting information and imagery options for all the letters before settling on the entries included in this book. The entries I selected span a multitude of subjects and are full of bold colors. The topics are a representation of my preexisting intrests as an artist and also the new things I discovered while wandering through the Fleet Library. The collages are done digitally with images I found from books, in the risd picture collection, and from online sources. -