TakÂing its cue from Doc Marten’s MuseÂum ColÂlecÂtion, Vans is releasÂing three shoes inspired by some of the painter’s most iconÂic works, 1939’s The Two Fridas, 1940’s Self-PorÂtrait with Thorn NeckÂlace and HumÂmingÂbird, and—for those who preÂfer a more subÂtly FriÂda-inspired shoe, 1954’s refreshÂingÂly fruity Viva la Vida.
Folks with a passÂing knowlÂedge of ukiyo‑e, the JapanÂese woodÂblock print art form popÂuÂlar in the 17th through 19th cenÂturies, will be familÂiar with its landÂscapes, as well as its porÂtraits of courÂteÂsans and kabuÂki actors. But often these prints were eduÂcaÂtionÂal, demonÂstratÂed by these very odd anatomÂiÂcal prints that proÂmote good health as it relates to our interÂnal workÂings.
Long before aniÂmatÂed monÂsters warned us about our mucus-filled chests, JapanÂese artists like UtaÂgawa KunisaÂda (1786–1865) filled the guts of these men and women with litÂtle workÂers, makÂing sure the human body worked like a funcÂtionÂing vilÂlage or town.
In the first print, Inshoku Yojo KagaÂmi (“MirÂror of the PhysÂiÂolÂoÂgy of DrinkÂing and EatÂing”), a man dines on fish and drinks sake. Inside, litÂtle men scurÂry about a pool wrapped in intestines, stoke a fire under the heart, all the while a scholÂar keeps refÂerÂence mateÂriÂals nearÂby. Down below loneÂly figÂures guard the “urine gate” and the “feces gate,” sureÂly one of the worst jobs in all the body econÂoÂmy.
One of Kunisada’s stuÂdents creÂatÂed a print for the women, focusÂing on the reproÂducÂtive organs, called Boji Yojo KagaÂmi (“Rules of SexÂuÂal Life”). Keen eyed viewÂers will note that the miniaÂture workÂers here are all women, so at least there’s some equalÂiÂty at play.
The two prints were meant as instrucÂtionÂal, pointÂing out best health pracÂtices, and warnÂing against overindulÂgence and excess.
OthÂer prints are just as invenÂtive: a back and abdomen covÂered in chilÂdren playÂing familÂiar games; anothÂer feaÂturÂing popÂuÂlar kabuÂki actors standÂing in for varÂiÂous organs. (Now, that is just cryÂing out for a modÂern remake). The last print shows a pregÂnant woman whose belÂly conÂtains Tainai jukkai no zu (Ten realms withÂin the body), a BudÂdhist idea that you can read more about here. As for their funcÂtion inside the womb, that is for othÂers of a highÂer conÂsciousÂness to disÂcern.
Ted Mills is a freeÂlance writer on the arts who curÂrentÂly hosts the artist interÂview-based FunkZone PodÂcast and is the proÂducÂer of KCRÂW’s CuriÂous Coast. You can also folÂlow him on TwitÂter at @tedmills, read his othÂer arts writÂing at tedmills.com and/or watch his films here.
How to save those wet, damÂaged books? The quesÂtion has to be asked. Above, you can watch a visuÂal primer from the SyraÂcuse UniÂverÂsiÂty Libraries–peoÂple who know someÂthing about takÂing care of books. It conÂtains a series of tips–some intuÂitive, some less so–that will give you a clear action plan the next time water and paper meet.
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T.S. Eliot asks in the openÂing stanÂzas of his ChoÂrusÂes from the Rock, “where is the knowlÂedge we have lost in inforÂmaÂtion?” The pasÂsage has been called a pointÂed quesÂtion for our time, in which we seem to have lost the abilÂiÂty to learn, to make meanÂingÂful conÂnecÂtions and conÂtexÂtuÂalÂize events. They fly by us at superÂhuÂman speeds; credÂiÂble sources are buried between spuÂriÂous links. Truth and falseÂhood blur beyond disÂtincÂtion.
But there is anothÂer feaÂture of the 21st cenÂtuÂry too-often unreÂmarked upon, one only made posÂsiÂble by the rapid spread of inforÂmaÂtion techÂnolÂoÂgy. Vast digÂiÂtal archives of priÂmaÂry sources open up to ordiÂnary users, archives once only availÂable to hisÂtoÂriÂans, promisÂing the posÂsiÂbilÂiÂty, at least, of a far more egalÂiÂtarÂiÂan spread of both inforÂmaÂtion and knowlÂedge.
Those archives include the USDA PomoÂlogÂiÂcal WaterÂcolÂor ColÂlecÂtion, “over 7,500 paintÂings, drawÂings, and wax modÂels comÂmisÂsioned by the USDA between 1886 and 1942,” notes Chloe OleÂwitz at Morsel. The word “pomolÂoÂgy,” “the sciÂence and pracÂtice of growÂing fruit,” first appeared in 1818, and the degree to which peoÂple dependÂed on fruit trees and fruit stores made it a disÂtincÂtiveÂly popÂuÂlar sciÂence, as was so much agriÂculÂture at the time.
But pomolÂoÂgy was growÂing from a domesÂtic sciÂence into an indusÂtriÂal one, adoptÂed by “farmÂers across the UnitÂed States,” writes OleÂwitz, who “worked with the USDA to set up orchards to serve emergÂing marÂkets” as “the country’s most proÂlifÂic fruit-proÂducÂing regions began to take shape.” CenÂtral to the govÂernÂment agency’s growÂing pomoÂlogÂiÂcal agenÂda was the recordÂing of all the varÂiÂous types of fruit being culÂtiÂvatÂed, hybridized, inspectÂed, and sold from both inside the U.S. and all over the world.
PriÂor to and even long after phoÂtogÂraÂphy could do the job, that meant employÂing the talÂents of around 65 AmerÂiÂcan artists to “docÂuÂment the thouÂsands and thouÂsands of variÂeties of heirÂloom and experÂiÂmenÂtal fruit culÂtiÂvars sproutÂing up nationÂwide.” The USDA made the full colÂlecÂtion pubÂlic after ElecÂtronÂic FronÂtier FounÂdaÂtion activist ParkÂer HigÂgins subÂmitÂted a FreeÂdom of InforÂmaÂtion Act request in 2015.
HigÂgins saw the project as an examÂple of “the way free speech issues interÂsect with quesÂtions of copyÂright and pubÂlic domain,” as he put it. HisÂtorÂiÂcal govÂernÂment-issued fruit waterÂcolÂors might not seem like the obviÂous place to start, but they’re as good a place as any. He stumÂbled on the colÂlecÂtion while either ranÂdomÂly colÂlectÂing inforÂmaÂtion or acquirÂing knowlÂedge, dependÂing on how you look at it, “chalÂlengÂing himÂself to disÂcovÂer one new cool pubÂlic domain thing every day for a month.”
It turned out that access to the USDA images was limÂitÂed, “with high resÂoÂluÂtion verÂsions hidÂden behind a largeÂly untouched payÂwall.” After investÂing $300,000, they had made $600 in fees in five years, a losÂing propoÂsiÂtion that would betÂter serve the pubÂlic, the scholÂarÂly comÂmuÂniÂty, and those workÂing in-between if it became freely availÂable.
You can explore the entireÂty of this tanÂtaÂlizÂing colÂlecÂtion of fruit waterÂcolÂors, rangÂing in qualÂiÂty from the workÂmanÂlike to the near subÂlime, and from unsung artists like James MarÂiÂon Shull, who sketched the Cuban pineapÂple above, Ellen Isham Schutt, who brings us the Aegle marmeÂlos, comÂmonÂly called “bael” in India, furÂther up, and DebÂoÂrah Griscom PassÂmore, whose 1899 Malus domesÂtiÂcus, at the top, describes a U.S. pomoÂlogÂiÂcal archeÂtype.
It’s easy to see how HigÂgins could become engrossed in this colÂlecÂtion. Its utilÂiÂtarÂiÂan purÂpose belies its simÂple beauÂty, and with 3,800 images of apples alone, one could get lost takÂing in the visuÂal nuances—according to some very proÂlifÂic natÂuÂralÂist artists—of just one fruit alone. HigÂgins, of course, creÂatÂed a TwitÂter bot to send out ranÂdom images from the archive, an interÂestÂing disÂtracÂtion and also, for peoÂple inclined to seek it out, a lure to the full USDA PomoÂlogÂiÂcal WaterÂcolÂor ColÂlecÂtion.
At what point does an exploÂration of these images tip from inforÂmaÂtion into knowlÂedge? It’s hard to say, but it’s unlikeÂly we would purÂsue either one if that purÂsuit didn’t also include its share of pleaÂsure. Enter the USDA’s PomoÂlogÂiÂcal WaterÂcolÂor ColÂlecÂtion here to new and downÂload over 7,500 high-resÂoÂluÂtion digÂiÂtal images like those above.
It’s betÂter to throw yourÂself into it withÂout knowÂing preÂciseÂly what the ten minute exerÂcise holds (othÂer than drawÂing, of course).
We know, we know, you can’t, except that you can. Like StrainÂchamps, you’re probÂaÂbly just rusty.
Don’t judge yourÂself too harshÂly if things look “terÂriÂble.”
In Barry’s view, that’s relÂaÂtive, parÂticÂuÂlarÂly if you were drawÂing with your eyes closed.
The seemÂingÂly nevÂer-endÂing era of female artists laborÂing in the shadÂows cast by their male colÂleagues is comÂing to a close.
DitÂto the tyranÂny of the male gaze.
Women Who Draw, a dataÂbase of over 5,000 proÂfesÂsionÂal artists, offers a thrillingÂly diverse panoply of female imagery, all creÂatÂed, as the site’s name sugÂgests, by artists who idenÂtiÂfy as women.
Launched by illusÂtraÂtors Julia RothÂman and Wendy MacÂNaughton in response to a disÂmayÂing lack of genÂder parÂiÂty among covÂer artists of a promiÂnent magazine—in 2015, men were responÂsiÂble for 92%—the site aims to chanÂnel work to female artists by boostÂing visÂiÂbilÂiÂty.
To that end, each illusÂtraÂtor tossÂing her hat in the ring is required to upload an illusÂtraÂtion of a woman, ideÂalÂly a full body view, on a white backÂground.
The result is an astonÂishÂing range of styles, from an interÂnaÂtionÂal cast of creÂators.
Not surÂprisÂingÂly, the majorÂiÂty of conÂtribÂuÂtors are based on the East Coast of the UnitÂed States, but givÂen the site’s misÂsion to proÂmote female illusÂtraÂtors of colÂor, as well as LBTQ+ and othÂer less visÂiÂble groups, expect to see growÂing numÂbers from Africa, the Caribbean, the MidÂdle East, and CenÂtral and South AmerÂiÂca.
In addiÂtion to indiÂcatÂing their locaÂtion, artists can checkÂlist their reliÂgion, oriÂenÂtaÂtion, and ethnicity/race. (Those who would check“white” or “straight” should be preÂpared to accept that those catÂeÂgories are tabled as “WWD encourÂages peoÂple to seek out underÂrepÂreÂsentÂed groups of women.”)
Bean countÂing aside, the perÂsonÂalÂiÂties of indiÂvidÂual conÂtribÂuÂtors shine through.
Some, like Paris-based AmerÂiÂcan LauÂra Park, choose explicÂit self-porÂtraiÂture.
SouthAsian illusÂtraÂtor Baani makes an impresÂsion, docÂuÂmentÂing women of her comÂmuÂniÂty even as she reinÂterÂprets tropes of WestÂern art.
Final words of encourÂageÂment from LindÂsey Andrews, AssisÂtant Art DirecÂtor for the PenÂguin Young ReadÂers Design Group:
Just keep putting your work out there in any form you can think of. Update your varÂiÂous social platÂforms regÂuÂlarÂly. Mail postÂcards of your work. Send emails. NetÂwork when you can. But, mainÂly, do what you love. Even if you have a portÂfoÂlio full of comÂmisÂsioned pieces, I still like to see what you creÂate when you get to creÂate whatÂevÂer you want. Also, let me know your process!
PerÂhaps no artist in modÂern hisÂtoÂry, save Andy Warhol, has been so well docÂuÂmentÂed, and self-docÂuÂmentÂed, as FriÂda Kahlo, or has used docÂuÂmenÂtary methÂods, surÂreÂalÂist and othÂerÂwise, to so unflinchÂingÂly conÂfront ideas about disÂabilÂiÂty, genÂder, sexÂuÂalÂiÂty, nationÂal idenÂtiÂty, and relaÂtionÂships. These qualÂiÂties make her the perÂfect celebriÂty artist for our times, but unlike the averÂage 21st cenÂtuÂry star makÂing art out of self-preÂsenÂtaÂtion, Kahlo’s voice has nevÂer been heard, though she lived in a time almost as satÂuÂratÂed with mass media—of the radio, TV, and film variety—as our own.
That is, perÂhaps, until now, with the unearthing of what the NationÂal Sound Library of MexÂiÂco believes to be a recordÂing of her voice, “takÂen from a pilot episode of 1955 radio show El Bachiller [“The BachÂeÂlor”],” writes Steph HarÂmon at The Guardian. The show “aired after her death in 1954,” likeÂly the folÂlowÂing year. Though the proÂgram does not introÂduce her by name, the preÂsenÂter does refer to her as recentÂly deceased, and she does read an essay about her husÂband Diego Rivera, which hapÂpens to be writÂten by FriÂda Kahlo. The case seems fairÂly conÂcluÂsive.
PreÂviÂousÂly the litÂtle eviÂdence of what she soundÂed like came from writÂten descripÂtions, such as French phoÂtogÂraÂphÂer Gisèle Freund’s charÂacÂterÂiÂzaÂtion of her voice as “meloÂdiÂous and warm.” Hear for yourÂself what is very likeÂly the recordÂed voice of FriÂda Kahlo in the audio above. In her typÂiÂcalÂly florid yet unsparÂing style she paints a verÂbal porÂtrait of Rivera full of unflatÂterÂing physÂiÂcal detail and layÂers of emoÂtion and admiÂraÂtion. In one EngÂlish transÂlaÂtion, she calls him “a huge, immense child, with a friendÂly face and a sad gaze.
RiverÂa’s “high, dark, extremeÂly intelÂliÂgent and big eyes rarely hold still. They almost pop out of their sockÂets because of their swollen and proÂtuÂberÂant eyelids—like a toad’s.” His huge eyes seem “built espeÂcialÂly for a painter of spaces and crowds.” The MexÂiÂcan muralÂist, she says is like “an inscrutable monÂster.” These are the words of a writer, we must rememÂber, who was pasÂsionÂateÂly in love with her subÂject, but who did not preÂtend to ignore his physÂiÂcal oddÂiÂties. As she had pracÂticed lovÂing herÂself, she loved and admired Rivera because of his unique appearÂance, not in spite of it.
Researchers are makÂing conÂtinÂuÂing efforts to verÂiÂfy that the voice on the recodÂing is Kahlo and searchÂing through about 1,300 othÂer episodes of the show, recordÂed for TeleÂvisa Radio, to find out if there are any more recordÂings of her. GivÂen Frida’s flamÂboyÂant perÂsona and minor art starÂdom in her lifeÂtime, it’s hard to imagÂine we won’t hear more of her, if this is in fact her, as othÂer archives reveal their secrets.
SavÂille-Kent, a natÂuÂralÂist whose work in varÂiÂous British aquarÂiÂums evenÂtuÂalÂly led to a gig rebuildÂing depletÂed TasÂmanÂian oysÂter beds, fell hard for the colÂorÂful fish, bĂŞche-de-mer, corals, sponges, turÂtles, and othÂer marine species he encounÂtered in AusÂtralia.
He phoÂtographed the Great BarÂriÂer Reef while servÂing in QueensÂland as ComÂmisÂsionÂer of FishÂeries. 48 of his images were pubÂlished in the aforeÂmenÂtioned book, offerÂing readÂers an unpreceÂdentÂed armÂchair tour of a coral reef, albeit in black and white.
While SavÂille-Kent defÂiÂniteÂly achieved his goal of furÂtherÂing the public’s awareÂness of the reef, he also upstaged himÂself by includÂing 16 colÂor lithÂoÂgraphs inspired by his origÂiÂnal waterÂcolÂors.
These plates, by LonÂdon-based lithÂoÂgÂraÂphers RidÂdle and Couchman—whose work usuÂalÂly ran toward porÂtraits of well-born genÂtleÂmen—exude a liveÂly SeussÂian appeal.
Saville-Kent’s careÂfulÂly capÂtured fish, echinÂoÂderms, and anemones litÂerÂalÂly pale in comÂparÂiÂson to the bright specÂiÂmens the lithÂoÂgÂraÂphers, who preÂsumÂably lacked his firstÂhand expeÂriÂence of the forms they were depictÂing, brought to such vibrant life in the back of the book.
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